1965, Nude Greek Reclining

“Handling Manet’s “Olympia” a century later, Kanovitz abolishes the frame, allowing the lower half of the picture to spill, full force, into into the viewers’ space… As in Manet’s “The Bar at The Folies Berges”, Kanovitz’s presents us with a world obsessed with artificiality, paradox, and illusion.”

 

                Sigfried Salzman, “Remarks on Kanovitz and Manet”