A warm tan granular ground or imprimatura layer is visible between broad brushstrokes of paint, applied in thin layers worked rapidly wet into wet, and modeled with sharp unblended brushstrokes. The background was applied first, with a reserve left for the face, which was painted next, followed by the clothing. The hair was worked over the face to define its precise contours. Scattered small losses are found overall, particularly along the edges. The bottom edge is ragged and damaged, with many unfilled losses.
Abrasion is slight.
The thin, aged varnish layer is slightly discolored and matte. The painting has not been treated since its acquisition at the National Gallery.