The modern forms of this sculpture obscure its traditional subject matter. Scenes of disrobing women are common in the history of public statuary. Responding to both classical sculpture and cubist painting, Lipchitz constructs the figure from intersecting planes that never coalesce into a recognizable anatomy.

Lipchitz compared this reimagination of the human form to Rodin’s fragmented and hybrid bodies in works such as Meditation. Seeing them, he later wrote, "My joy was immense. . . . One needed imagination to complete the figure."