The nude figure study is one of the most classical practices of academic painting; Fitoloğlu passes through this tradition and translates it into his own expressionist language. Three female figures — one in profile, one frontal, one half-turned — on a ground dominated by blue. The anatomy is correct but not idealised; the bodies are painted in earth and coral tones, and white-pencil contour lines tremble slightly. The open ground behind places the figures not on a stage but in a space of thought. This triple arrangement is a theme worked many times in Western art history (the Three Graces, the Judgement of Paris) — the artist quotes it knowingly and translates it into his own Aegean language.