There is a notable change in Schiele's approach to form, shading and colour in his works of 1911. His approach is altogether more sensitive, both in terms of his drawing technique and often in terms of his approach to his models. As Dr Leopold comments, "The contours of numerous nudes of this period, in which purely linear elements reassert their importance, often display an undulating form characteristic of Schiele's new approach to drawing. If the exaggeration of thin, naked bodies to the point of coarseness attracted him during 1910, he now dissolves the angles and convexities of his outlines into a series of sensitive, curved forms varying in magnitude. The dilineation has now become exceptionally harmonious. By the great sensitivity of his line treatment, Schiele even succeeded in imparting depth to the subjects of these nude drawings, despite very frequent use of hard leads which only permit a very limited degree of differentiation between light and shade, and thicker or thinner strokes." (R. Leopold, Egon Schiele - Paintings, Drawings, Watercolours, London, 1973, p. 155).

Jane Kallir notes how in 1911 Schiele placed "an unusual emphasis on the pictorial background which surrounds the principal figures. From the start of the year, the figure tends to fill the page, with pose and drapery often extended to the corners. Ill-womb-like blankets - augment the figures dominance of the sheet. Angular lines - particularly noticeable in uncoloured drawings - mediate between the softer contours of the human body and the hard edges of the paper...As previously noted, since about mid-1910 the artist has been in the habit of using white gouache to outline his figures. This 'body halo' naturally intensifies the psychological impact of the subject...It may also be considered a path towards and adjunct to the more elaborately articulated backgrounds discussed above.

The culmination of the 1911 style is an integration of disparate elements far more harmonious than previously encountered in Schiele's work...He is able to command a full repertory of watercolour techniques, deftly juxtaposing thin washes with opaque accents, bold gouache with delicately pooled or puddled areas of watercolour. Drawing and painting compliment one another rather than vying for prominence...His palette is lighter and more varied, his colours cheerful, almost decorative." (J. Kallir, Egon Schiele, New York 1990, p. 433).

This work is one of twenty works on paper which has been requested for the forthcoming exhibition to be held at the Schirn Kunsthalle, Frankfurt, entitled Departure for Modernity, Vienna and Europe, which begins on 22 September 1995.