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Though best-known for his large abstract sculptures, in the 1950s Caro trained with Henry Moore and made figurative work. The surface of this sculpture is roughly pitted and the woman’s body seems almost to overflow the plinth, unlike the passive, contained poses of traditional nudes. This was, in part, a reaction against the smooth finish of Moore’s bronzes but also stemmed from Caro’s working method. By dropping soft clay from a height and developing the suggested forms, Caro could make the most of both chance and the expressive potential of the clay from which the bronze is taken.

September 2016