In this work, of a very modern approach and done in beautiful tones, the background is constructed with sketchy brushstrokes, slanted and parallel, that tend to blend into colour masses, which demonstrates Iturrino’s knowledge of modern European painting from Paul Cézanne (1839-1906) and to . The warm background in yellow tones—so characteristic of the author—makes the garments of the female figure, painted in cool hues, stand out even more. There is a volume and a modelling of the features in the hands and face that are absent in the background. The piece must be from the late 1910s or early 1920s.

Iturrino often painted these themes involving manolas wearing colourful Manila shawls and sometimes holding a fan, element of Spanish types that the artist favoured, as they allowed him to emphasise and exploit their lively and exotic chromatic beauty.

The figure of the woman, occupies, despite being seated, the entire height of the canvas, and is even cut at the bottom. This kind of design, recurrent in the work of Iturrino, was considered a compositional flaw by some of his detractors.