In Duncan Thomas's monogram on the artist he compares the work to a painting by Lucien Freud, Standing by the Rags, from the same year. "Freud engages in an unremitting onslaught, where the layers of paint aim at the same plasticity as flesh itself; Arikha attempts, with an economy of means, to hold the evanescent luminosity of the model's flesh as something that is almost distinct from the substance that lies beneath the surface, although at the same time contributing to its realization. Few contemporary painters are equipped, either technically or psychologically, to paint from the model in either way." (Thomas, p. 182)
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