Discussing Lowry's figure paintings from the 1950s, Michael Howard (L.S. Lowry A Visionary Artist, Salford, 2000, p. 174) comments, 'In many of these drawings and paintings, no fixing mechanisms locate the figures in a safe distant space of the picture; instead the whiteness of the paper, canvas or board operates as a metaphor for the gap between us and the subject'. In a painting from 1952, A Seat in the Park, Howard comments that 'borders and margins are no longer intact, and there is a blurring of subject and object. The subjects are no longer independent and self-governing' (ibid.).