In this small-format painting, with a preparatory sketch held in the museum's collection, Eugène Delacroix portrays a languid, nude woman stretched out on shimmering draperies, stroking a parrot.

There are several theories about the model's identity, connecting her to one of the women mentioned in the artist's diary at that time. Yet this painting, destined to an art-lover's private collection, remains first and foremost a sublime expression of feminine eroticism.

Although the work conjures up the image of an odalisque, a very popular theme among 19th century artists, the Orient is only hinted at here in the rich wall hangings, the divan the model is lying on, the bracelet around her wrist, and her exotic parrot. The painter rejects any anecdotal details and picturesque charm, placing the emphasis on colour work. The colours are masterfully pared down almost to the three primaries, which are amplified by the way the artist combines them and by the play of reflections in the composition. From the beginning of his career on, Delacroix established himself as a master of colour work, following directly on from 16th-century Venetian painters such as Veronese and prioritising colour over classical pictorial traditions.