After a period of sculpting introspective and withdrawn nudes in marble, the work of sculptor Stojan Batič shifted in a completely new direction in the Parisian studio of Ossip Zadkin in 1957.

Under the influence of French Cubist sculpture, the bodily volumes of his figures acquired sharply broken and cropped contours. Batič synthesised his initial achievements in modelling convex and concave shapes with angular and flat ornamented surfaces in his narrative sculpture Harlequin in Love (1957).