 Instead, she investigated the uncanny ‘presence’ achieved by ancient figures, especially Egyptian sculpture.She also studied this quality in Early Renaissance paintings, and in the evidence of the body itself, X-rays, skeletons, figures and animals she found in the countryside or drew in London Zoo.In the 1950s and '60s her explorations of the embattled origins of art and life were adapted into designs for the ballet and opera, a Minoan Tiresias created for the ballet of the same name premiered in 1951 at Covent Garden, the last work of her husband Constant Lambert.