Angers, whose transportation murals are sampled elsewhere in this collection, went to art school solely as an excuse to view what he called "hot naked babes." His artistic interest in the female nude was believed to originate in kindergarten, when he persuaded his young playmate Colette Desjardins that a full-body application of fingerpaint was the perfect substitute for summertime apparel. He was suspended from high school on several occasions for attempting to varnish the cheerleading squad.

As an artist Angers had a chronic problem finding models to pose for him, most of whom were frightened by the drooling. He also had very poor artist's pickup lines. Where his contemporaries like Raphael and David would use words like "composition," and "tonal delicacy," and "exquisite form" to talk a shopgirl out of her clothes, Anger's approach was much more direct and far less tactful. "Dominic's here, peel 'em and leer" was a typical come-on. He unsuccessfully advertised in local papers for "stacked broads in need of barefoot-all-over portraiture."

He finally persuaded the not-very-bright daughter of a washerwoman to pose for him. The young girl was painfully shy, however, and would only agree to remove one article of clothing per session, and refused to face him. This painting represents the 36th in the series, others of which are titled "Possibly Nubile Young Girl Minus One Glove," "Potentially Naked Model with Petticoats, Camisole, Two Shawls and Overcoat," and the well known "Back View of Chubby Gal with Weird Hat and Droopy Drawers." 

Angers had pinned his hopes on painting #40, which he had tentatively titled "The Full Montmartre," in anticipation, but his model eloped with his assistant after #37, "Hind Side of Model Finally Dropping !#%^*#$%! Bedsheets."

 

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