She was introduced to the Spanish artist by the French poet Max Jacob, in 1904, and she sat for a portrait by Picasso in his Bateau-Lavoir studio at 13 rue Ravignan in Paris, between the late spring and early summer of that year.

[3] A pen and ink sketch heightened with gouache, and signed and dated by Picasso, preceded the oil painting; it is now conserved at the Neubury Coray collection, in Ascona, Switzerland.

[7] The painting, fully imbued with a somber, melancholy aura, is rendered in monochromatic shades, varying from blue to blue-green, with the sporadic presence of warmer tones.

In the words of Camesasca, quoted by Marques: "[…] this portrait is marked by the emergence of a reflection about the plastic-chromatic structure of Cézanne’s works, in the scope of a 'post-impressionism, already absorbed in the problems which will make the art explode.

[5] The paintings, which are listed as part of the Brazilian National Heritage by IPHAN,[11] remained missing until 8 January 2008, when they were recovered in Ferraz de Vasconcelos by the Police of São Paulo, who also arrested two suspects.