Shown from the shoulders up, a young woman with pale skin, dark hair, and wearing a muted turquoise bodice over a white shirt, peers at us against an olive-green background in this vertical portrait painting. Her shoulders are angled slightly to our left, and she tips her head away from us, over her right shoulder, to our left. With her chin jutting a bit toward us, she looks at us from the corners of her heavy-lidded, dark green eyes under arched brows. She has a straight nose, and her smooth cheeks are flushed. The corners of her closed, peach-colored lips are barely pulled back in a faint smile. Her chestnut-brown hair is pulled back, and short curls frame her face in front of her ears. She wears a white, ruffled flower with a white bud and deep green leaves in her hair over her left temple, to our right. A dark rope or twisted fabric encircles her neck, and she gathers the long ends in her right hand, to our left, at her chest. One long curl wraps around the fabric, to our left. Her chest is smooth, and the backs of her fingers are touched with coral pink. Her low-cut, muted blue bodice is worn over a full-sleeved, white shirt pleated below the shoulders. She is lit from our left so casts a shadow against the olive-green wall to our right.

百度翻译：http://fanyi.baidu.com

   Said to have been given by Empress Catherine II of Russia [1729-1796] to Prince Aleksandr Andreyevich Bezborodko [1747-1799], her secretary of petitions and later imperial chancellor; given by him to Prince Viktor Pavlovich Kochubei [1768-1834], Russian diplomat and statesman.[1] (Count Alessandro Contini Bonacossi, Rome); purchased July 1932 by the Samuel H. Kress Foundation, New York;[2] gift 1939 to NGA.

百度翻译：http://fanyi.baidu.com

   The support is a medium-weight, plain-weave fabric with irregular threads throughout and is identical in thickness and weave to that of the pendant. A thick white ground was applied unevenly with a broad brush and toned with a reddish brown imprimatura. The oil paint has been applied evenly in layers of medium thickness and brushed wet-into-wet. The sequence of the paint layers corresponds to that of the companion: the composition was blocked in and a brown imprimatura applied to the area designated as background; the figure was painted wet-into-wet, with delicate blended brushstrokes in the face and broader handling for the costume; the flower and details of the face were completed last and impasto highlights added as required. Examination by infrared reflectography suggested that the composition was laid out with paint containing carbon black pigments. It also revealed that numerous compositional changes were made during the evolution of the final design: the sitter originally leaned against what appears to be the back of a chair; her bottom lip was originally lower than its present position; her hand was added after the costume was completed.

   The painting has been restretched onto a stretcher slightly larger than the painted surface. There are small losses and abrasion throughout, which have been extensively inpainted. The varnish is very slightly discolored. About 1933 the painting was relined, discolored varnish was removed, and the painting was restored by Stephen Pichetto.

百度翻译：http://fanyi.baidu.com