Liegender Akt mit blondem Haar may well have been painted after Schiele's spell in prison in 1912, as it was after this experience that he seems to have deliberately toned down the erotic content of his drawings of women. Thereafter he worked with an element of aesthetic detachment which placed more emphasis on perspectives than on sexual impact. Kallir notes: "Schiele's drawing style throughout this period is free and loose; graceful, arching curves flirt with outlandish exaggeration ... Unusual composition angles - foreshortening views from above and vertical presentations of recumbent figures - bespeak an intentionally daring, venturesome approach ... Perhaps the most significant change in the latter part of 1912 is the switch to softer leads, which produce distinctly darker, bolder, lines ... The tentative delicacy of early 1912 vanishes, and while Schiele may redraw a line to correct it, he no longer has need for feathery reinforcing strokes ... As in 1910, the flow of pigment pushes deliberately against the surrounding contours, but the effect is softer due to thinner and wetter paint ... The propensity to deposit a narrow band of colour along the principal edges of a form - observed already in 1911 - now becomes more pronounced: colour washes glide along the central surface and then accumulate in darker gulleys along the periphery" (J. Kallir, op. cit., p. 461).

This work was orinally owned by Alfed Spitzer, a lawyer who patronized Schiele during his time at the Vienna Academy and later represented the Artist's estate. Schiele had sketched his portrait in 1911 (Kallir D932).