Vuillard's pastel, like many of his paintings, drawings, and lithographs, offers a glimpse into the harmonious workings of his social circle, which was filled with extended family and friends. Many friendships dated back to his days as a Nabi painter and as a graphic artist for such literary publications as La revue blanche, founded by the Natanson brothers. During the summer of 1909, when this intimate scene was captured, Vuillard was the guest of Lucy and Jos Hessel at their rented country villa in Saint-Jacut, on the Channel coast. The couple were important figures in the artist's life. Jos, his dealer, amassed a large private collection of his work, while Lucy frequently modeled for him and, after 1900, had become his unofficial social secretary and confidante.

The experience at Saint-Jacut inspired Vuillard to produce several interior views, as well as a few sun-filled seascapes and landscapes, often peopled with his acquaintances. Here, in the rosy darkness of a cloistered room, we can make out the shadowy forms of four protagonists—in the doorway, the nattily dressed Alfred Natanson; on the left, his eight-year-old daughter, Annette; the elegant Mme Hessel working at the desk; and her loyal dog Basto sprawled on the floor.