A late-career work by John French Sloan, featuring a seated nude rendered with precise, linear tempera strokes and a striking red mirror.

John French Sloan, a central figure of the Ashcan School, produced this work during the final year of his life. The painting displays his late-career experimentation with a specific technical method involving tempera and an oil-based overglaze. This technique creates a distinct linear quality across the figure, where fine, parallel strokes define the contours and volume of the body rather than traditional blended modelling.

The composition features a seated female figure in profile, engaged in the act of observing her reflection. The red hand mirror provides a sharp chromatic contrast against the cooler tones of the blue fabric and the muted background. Sloan often focused on the mundane aspects of urban life, yet in his later years, he turned his attention toward the study of the human form through this rigorous, cross-hatched application of paint. The figure is positioned within a domestic interior, with the architectural elements of the room rendered in a simplified, almost schematic manner. This allows the viewer to focus on the interplay between the subject and the reflective object she holds.

Sloan's approach here rejects the soft, atmospheric effects common in earlier portraiture. Instead, he employs a systematic application of colour that suggests a preoccupation with the physical structure of the subject. The red of the mirror is echoed in the fabric draped across the figure's lap, creating a visual rhythm that guides the eye across the canvas. This work represents a departure from his earlier, darker urban scenes, showing a shift toward a more analytical and controlled method of painting. It remains a clear example of his technical curiosity and his desire to push the boundaries of his medium until the end of his career.