Moore's first exploration of the possibilities of drapery in connection with figurative sculpture took place in the early 1950s, when the demands of a specific commission combined with his free use of plaster in preparation for the casting of the work in bronze culminated in Draped Reclining Figure 1952-53 (LH 336). This successfully added the contours of natural forms as well as a distinct hint of classicism to the repose of his figures, yet preserved that sense of immutability conveyed by the Mexican Chacmool figures that had so profoundly influenced the younger artist.