With his neatly trimmed mustache and wavy hair parted slightly to one side, the model in the present drawing is certainly the same young man Degas depicted in Homme assis, étude de nu (see lot 301), which on the basis of a related work by Gustave Moreau has been dated 1858. The subtle modeling of the torso and limbs and the careful attention given to the model's features point to a similar date for this study. The inscribed date of 1857 is therefore too early, as are many of the dates which Degas applied to his academic studies when he viewed them again in later years.

The models in the Academy classes often adopted poses familiar from the old master tradition. This model strikes a heroic pose, in contrast to the more relaxed posture in Homme assis, étude de nu; he may be acting the role of a fallen warrior or religious martyr. The artist exploits the dramatic potential in this pose by articulating the powerful gesture of the upraised arm (a position sustained by the model through the use of a rope hanging from above that could be grasped) chiefly through the use of shadow. The foreshortening is masterly, and Degas is careful to carry the shadow across the model's chest, which helps to define the strength of the upper body. Degas plants the model's left arm at a steep angle to counterbalance the right. While adept at capturing a dominant gesture and giving an expressive function to each part of the body, Degas is also quick to show interest in minor details, and includes leaves and small flowers in the foreground in order to suggest that the model exists in a real setting.