The late 50s and early 60s sees a change in scale and a decided move toward abstraction, although a strong figurative element remains. Human forms merge into the landscapes they inhabit. Henry had seen a show of Mesoamerican art in the mid 50s and been struck by the monumentality of the work - the second painting homage to Chacmool sculptures, and to Henry Moore.
The last painting in this group sees Henry moving away from the idealised landscape to the actual.