If we take Manet's Olympia (1863) as a critical - yet - still - problematic exemplar of the patriarchal tradition, we might imagine that Thomas reclaims the marginalized positions of both the recumbent white sex worker (
ridiculed as corpse - like and revolting in contemporaneous criticism) and her black attendant (offensively disparaged by 19th - century critics as a «hideous Negress»).