The fragmentation of the figure was not a new idea for Moore, having featured in ‘table-top' carvings from the 1930s made under the influence of Surrealism. However, this bronze marks a new approach to the theme and one that would achieve monumental proportions in a series of two- and three-piece reclining figures of the early 1960s. In sharp contrast to the smoothly finished forms of the 1930s, the rough surfaces of the sculpture recall craggy rock faces while the hollows are like mysterious caves, facilitating the reading of the work as both figure and landscape.