By the mirror Vera Rockline (1896-1934)

The composition centers around a figure viewed from behind, positioned before a rectangular mirror affixed to a wall. The subject appears to be in a state of undress, clad only in undergarments and slippers. A chair draped with a red and white textile sits adjacent to the mirror, suggesting a space for dressing or preparation.
The artist’s handling of paint is characterized by visible brushstrokes and an emphasis on texture. The wall surfaces are rendered with a loose application of color, creating a sense of depth and atmospheric perspective. Light falls predominantly from the left, illuminating the back of the figure and casting shadows that define its form. The mirrors reflection provides a secondary image, echoing the pose and offering a glimpse of what lies beyond the immediate view. A small vase with flowers rests on a surface near the mirror, introducing a touch of domesticity and perhaps symbolizing fragility or fleeting beauty.
The painting evokes themes of self-perception and introspection. The figure’s posture suggests contemplation or assessment; the act of looking at oneself in a mirror is inherently linked to identity and appearance. The obscured face prevents direct engagement with the subjects emotional state, encouraging viewers to project their own interpretations onto her.
Theres an underlying sense of vulnerability conveyed through the exposed body and the private nature of the scene. The placement of the chair hints at a ritualistic element – the preparation for presentation or perhaps a moment of quiet solitude before facing the world. The color palette, dominated by muted tones with accents of red, contributes to the paintings overall mood of understated elegance and subtle melancholy. The work seems less about explicit representation than it is about capturing an ephemeral psychological state – a fleeting moment of self-awareness within a confined domestic space.