The support is a very fine twill fabric \rthat has been lined, but the original tacking margins are \rpresent. A white ground was unevenly applied over the \rfinely woven support. After the figure was sketched in, the
\rbackground was covered with dark green paint of a \rpastelike consistency. The sitter's body and dress were \rblocked in with white, and the flesh areas with a yellow-tan. Following this, the flesh areas were painted
over with smooth applications of cool pink, leaving the darker tan underlayer exposed to model the forms. The details of the dress were built up thickly with ridges of impasto defining the stripes along the sleeves.
Overall, the painting was executed decisively, with bold brushwork and very few changes in the composition. Examination by x-radiography reveals that the only compositional change made to the work involved the figure's
right eye. The paint and ground layers are secure, although areas of craquelure are found throughout the thickly painted face, hands, and dress. One large hole, located in the middle of the woman's left side, and several
old losses are also present. The varnish has grayed slightly.
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