In January 1927, Pablo Picasso met the young Marie-Thérèse Walter, twenty-eight years his junior. She would be Picasso's muse almost exclusively for the next eight years. Marie-Thérèse inspired the artist to create extraordinary images of her beauty in every medium: first, on the beach in Dinard in 1928, then beginning in the early thirties in a celebrated series of large portraits seated or reclining (most often asleep) and finally in a group of monumental plaster sculptures executed in Boisgeloup. As John Richardson wrote "Never forget that Marie-Thérèse was the quintessence of Dolce fa niente." The present pen and india ink drawing executed in Paris on January 11, 1934 is a direct allegory of their love.

Here the lovers are reclining in a very romantic manner. Her half naked body (Marie-Thérèse) resting against "the artist" who is admiring her beautiful body and lovingly holding her hand. Picasso drew this part of the composition with a very strong and energetic hand, repeatedly going over with his pen until some parts became almost black. In contrast, the technique used on the left side is quiet and smooth, composed of simple curved lines. The subject is also in direct opposition; a couple embraces passionately. But what exactly is it? A work of art framed lying around the artist's studio, the artist's remembrance of the love-making, or most likely his thoughts and anticipation of the next time.