This drawing is one of a large number of studies for the central figure in the painting Die Jungfrau, 1912-1913 (Dobai no. 144; coll. Nrodn Galerie, Prague). In many of the studies the model is shown nude or partially draped, with her legs spread apart; some drawings are overtly auto-erotic. In the painting, however, the figure is clothed, wearing an ornate Wiener Werksttte gown. She is posed vertically, as if her supine pose is viewed from a high vantage point. The theme common to the painting and the many studies is a self-absorbed reverie or sexual fantasy. In the painting the maiden is surrounded by the flowing shapes of semi-nude females who embody her secret sensual thoughts.
Klimt's densely intertwined multi-figure compositions are indebted to Rodin's Gates of Hell, an influence which is seen as early as the painter's ceiling decorations for the University of Vienna (see lot 317). Their admiration was mutual, for in 1902 Rodin visited the great Beethoven exhibition in Vienna, the centerpiece of which was a decorative frieze by Klimt (see lot 324), and Rodin complimented the painter on his accomplishment. Although Rodin was primarily a sculptor and Klimt a painter, both artists shared a drawing technique that was both sensual and occasionally intensely graphic in its content, but always notable for its economy and virtuosity of line.