Caro’s training at the Royal Academy Schools (1947-52) was in the academic tradition and towards the end of his time there he was beginning to react against academicism as being too restricting, although he had a great regard for the artist who taught terracotta modelling. In this study he was trying to make the seated figure appear entirely natural. He has achieved this by placing his model on a low seat in a relaxed pose. Terracotta clay is a malleable material, varying in colour, plasticity and texture, according to its source. Caro’s modelling is finely tuned to the form of the figure and balance in the composition. He said recently, ‘It looks conservative to me when I look at it today, but in those days it was a step forward for me.’