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This portrait was painted in 1913 with a technique named oil-on-canvas.

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Hermen Anglada Camarasa was part of the Catalan modernist environment

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that developed at the end of the 19th century,

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currently considered the highest representative of post-impressionism.

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The artist, Anglada Camarasa, was undoubtedly more internationally recognised in his exhibitions

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held throughout Europe, later reaching Argentina and United States.

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From 1897 onwards, when he first went to Paris,

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Hermen Anglada Camarasa's paintings began to show marked influences of artists

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like Toulouse-Lautrec, Gustave Klein and Van Dongen.

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But the real turning point in his style, so evident in this portrait,

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came in 1909 with the arrival in Paris of Diaghilev's Ballets Russes,

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featuring Nijinsky and Pavlova.

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The event was a social and artistic sensation that revolutionised both tastes and costumes.

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Anglada Camarasa was deeply moved by the sets and costumes of vibrant oranges, purples and greens,

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to the extent that from then his female portraits would be replaced by brilliant multicolours.

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His preference for landscape, colour-free figures and light-hearted subject

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reflects the desire to create an art that would appeal primarily to the viewer's senses.

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As you can see, the artist focused his attention in this portrait to the superior nudity of the

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female figure and the exotic colours of the picot located in the left of the work.

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The portrait shows a stretched female figure defined by sensual curves

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and almost cadaverous, even ghostly, white skin that contrasts with the

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jungle darkness that surrounds her.

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A fixed gaze that interacts directly with the viewer.

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A woman who resides between the illusory and the ephemeral.