Painted at the same time as Dubuffet's celebrated Corps de Dames series of 1950-51, Lili Sourieuse is a portrait of his first wife, although one cannot really find features that resemble her. Dubuffet had always condemned the misinterpretation of his portraits as having any 'psychological insight' and his attention progressively grew further towards the representation of Women Types and Men Types. Each were composed of characteristics common to certain men and women but not to any particular individual. Although wrinkles and particulars of the sitter are included, there is no interest in capturing his or her character.
Lili is portrayed with her body cropped just below the waist and with a disproportionately large head. Almost reaching the edges, it is reminiscent of the way children feel the need to fill the whole page when drawing or painting. Carved into paint, the figure appears permanent and static as if carved into cement and there for eternity.

"These pictures ironically called Corps de Dames, are surely among the most aggressively shocking works known to the history of painting. By their brutal attack on 'Woman', they violate all our sacred and dearly held concepts of mother, wife, mistress, beloved, daughter and sister, as well as the very principles of beauty derived from erotic desire in most cultures." (Peter Selz, Dubuffet, New York 1962, p. 48)