The juxtaposition of the prominent bouquet and the off-center figure, gazing distractedly to the right, exemplifies Degas’s aim of capturing individuals in seemingly casual, slice-of-life views. The sitter is probably the wife of the artist’s schoolboy friend Paul Valpinçon; Degas immensely enjoyed outings to their country house, Ménil-Hubert, and the dahlias, asters, and gaillardias in the bouquet would suggest a late summer visit. The painting was preceded by a pencil drawing of the woman, also dated 1865 (Fogg Museum, Cambridge, Mass.).
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