In a planned composition, Marguerite Gros Perroux is cut out from a greyish stained background. Possibly inspired by Edouard Manet's le Fifre (1866, by the absence of a mediatoral plan between the figure and the support, the character stares frontally the artist. In her gaze one can guess the author, personality present only in the presentation of his first woman. Married in France in 1921, this painting was made in that decade, and refers markedly these years for its modernity, but also for the joviality of the pictured, her costume and haircut, as well as the hairy red accessory, reflecting the image of a time and a post-impressionist form. In simplified lines, brief brushstrokes, white overlap and a lack of volume in the figure, despite a concern for identity, emerges a blue blouse that gives the painting its title. An immediate restraint or innocence is affirmed in the frontal gaze and in the pose of the hands, but simultaneously they coexist with the accumulation of feminine signifiers.