The Rodin-like texture of this work is a sharp contrast
to Baskin’s usually smooth or swathed figures.
Having switched from working in clay to working in
plaster in the late sixties, the new medium allowed
Baskin the opportunity to achieve a variety of surfaces.
The subject, however, has classic Baskin iconography.
The figure is almost obscured by its garmenting save
a general visage and the prominent hands. Baskin has
stated that the hands, along with the eyes, are often
a reflection of one’s soul.