The reclining figure was a constant and recurring theme for Moore, from the first one he carved from Brown Hornton stone in 1929, and reappears in every phase of his work. The inspiration, originally from an Aztec God, became closely related to the mountains which Moore equated with sculptural energy; his work reflected his obsession with the pull of gravity and the relation of man to earth. Established on, and connected to, the ground, the figure becomes at once plastic, organic and geological, without ever losing its human characteristics.
Discussing the three fundamental poses (standing, seated and lying down), Moore commented: 'A reclining figure can recline on any surface. It is free and stable at the same time. It fits in with my belief that sculpture should be permanent, should last for eternity. Also, it has repose. And it suits me - if you know what I mean' (see J.D. Morse, 'Henry Moore comes to America', Magazine of Art, 40, no. 3, 1947).