In Paris, Tarbell was deeply impressed by the fresh attitudes and revolutionary techniques of the Impressionists. Their preference for working out-of-doors, their high-keyed palette, and their loose, rapid brushwork became characteristics of his style. Tarbell also admired the seventeenth-century Dutch painter Vermeer, whose quiet, light-filled rooms with their timeless images of a solitary female occupant inspired many of his pictures. In this painting, a fashionably dressed recumbent young woman, silent and motionless, is seen across a wide, polished floor on which the half-light, filtering through a Venetian blind, creates a pattern of reflections. This would be a Dutch subject rendered in a French technique were it not for the flavor of innocently girlish and dreamy idleness that characterizes the pictures of several American painters at the end of the nineteenth century.
Signature: [at lower right]: Tarbell
William M. Laffan, New York, died 1909; his estate, 1909–1911; sale, American Art Association, New York, 20 Jan. 1911, no. 12; Charles Adams Platt, Boston, 1911–died 1933; his wife, Eleanor Hardy Bunker Platt, Boston, 1933–1949; their son, William Platt, New York, as agent, 1949; with Milch Galleries, New York, 1949; Adelaide Milton de Groot, New York, 1949–died 1967