In the mid-1950s Moores working method changed. As his sculptures became less frontal and began to have an organic completeness from many points of view, he found that working from a drawing of a sculptural idea of a single view was contrary to his aims. He preferred to work out his ideas directly in the form of small maquettes. His female figures, echoing the forms of mountains, valleys, cliffs and caves, extended and enriched the landscape tradition, which he embraced as part of his English artistic heritage.