Kay’s The Bon Viveur (ii) is reminiscent of Georg Grosz’s satirical portraits of 1920s Berlin society. Corpulent, well dressed, with genitalia on his face, Kay’s character is a full-figured image of the ’good life’. Rather than taking a moral position, The Bon Viveur (ii) is a celebration of its own perversity, a connoisseur’s paragon of gluttonous indulgence. The canvas is rendered in a flawlessly decadent style worthy of its subject.

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