The Rest of Her Remains Artist: Njideka Akunyili Crosby (Nigerian and American, born 1983, M.F.A. 2011)


Prints and Drawings

Not on view

Nigerian-born artist Njideka Akunyili Crosby appropriated the placement and pose of the figure from Édouard Manet’s painting The Dead Toreador (probably 1864, National Gallery of Art, Washington, D.C.) to create The Rest of Her Remains, a multicultural, boldly feminist statement. She replaced the male body in Manet’s work with a female body, located in a modern bedroom and surrounded by a patchwork of images drawn from Akunyili Crosby’s Nigerian culture. Using charcoal, acrylic, ink, collage, and Xerox transfers, she bridged old traditions with new technologies and methods of image making. The resulting large-scale composition defies classification and challenges the Eurocentric art-historical canon.


Charcoal, acrylic, ink, collage, and Xerox transfers on paper


81 5/8 × 110 3/16 in. (207.33 × 279.88 cm)
framed: 86 3/16 × 114 15/16 × 3 11/16 in. (218.92 × 291.94 × 9.37 cm)

Credit Line

Purchased with a gift from the Arthur and Constance Zeckendorf Foundation

Accession Number



21st century


Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of records is ongoing.

  • Lisa Hodermarsky et al., On the Basis of Art: 150 Years of Women at Yale, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2021), 304–5, no. 79, fig. 1
  • Frauke V. Josenhans, "Painting with Fragments: Njideka Akunyili Crosby's 'The Rest of Her Remains'," in "European Art," special issue, Yale University Art Gallery Bulletin (2016), 110–11, fig. 1
Object copyright
Additional information

Object/Work type

figures (representations), interior, self-portraits

Technical metadata and APIs


Open in Mirador

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