Henryk Gotlib’s friend, the painter Josef Herman, remarked of Gotlib’s later nudes, such as this: ”first one is struck by what Rouault called a ‘holy clumsiness’ in the very execution… and when we look for details, there are few – most have been absorbed in the process of simplification… This nude may be sexually repulsive, but as an image she is easier to identify oneself with precisely because of the painful humanity Gotlib invested in her.”