Reclining Figures is the closest of all Moore’s textiles to his sculpture, and anticipates bronzes such as Draped Reclining Figure 1952-53 (LH 336) made for the Time/Life Building on Bond Street. But in the bronzes Moore’s emphasis is on form – the three-dimensional weight and volume of the work, its physical mass in space.  Here, the lines of the drapery begin by following the form of the figure, then completely dominate the composition by flowing into the background and linking the repeating pattern of figures together into one fluid rhythm. This effect is enhanced by the use of colour – from opposing reds and greens, to jarring red and magenta with an acid green, and even a positive–negative effect with the minimal scheme of only blue and white. This approach suits the idea of a fabric that can be worn, with the lines of the pattern also flowing around the person wearing the garment.