Luncheon on the Grass Édouard Manet (1832-1883)
Édouard Manet – Luncheon on the Grass
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Painter: Édouard Manet
Location: Orsay Museum (Musée d’Orsay), Paris.
The painting was first exhibited at the famous Salon des Outcasts, which was opened on May 15, 1863, in Paris by Emperor Napoleon III, who wished to be hailed as a defender of freedom and creativity. At that time, the jury rejected many works by artists who were not allowed to participate in the exhibition. Edouard Manet offered his Breakfast on the Grass for dessert, which aroused a storm of emotions, the harshest criticism and the unanimous verdict that this "breakfast" was absolutely "inedible". The public was especially outraged by the fact that in the forest clearing there were men, decently dressed, with shoes, ties and canes, with naked women’s bodies glowing beside them.
Description of Eduard Manet’s painting Breakfast on the Grass
The painting was first exhibited at the famous Salon des Outcasts, which was opened on May 15, 1863, in Paris by Emperor Napoleon III, who wished to be hailed as a defender of freedom and creativity. At that time, the jury rejected many works by artists who were not allowed to participate in the exhibition. Edouard Manet offered his Breakfast on the Grass for dessert, which aroused a storm of emotions, the harshest criticism and the unanimous verdict that this "breakfast" was absolutely "inedible".
The public was especially outraged by the fact that in the forest clearing there were men, decently dressed, with shoes, ties and canes, with naked women’s bodies glowing beside them. The title of the painting takes on a kind of piquant meaning, especially since nothing edible is really depicted. The left corner of the foreground contains a faint hint of food, but you can clearly see that a half-empty basket with a few mushrooms is lying on a flap of cloth, probably someone’s dress, and a few berries can be seen on the green leaves nearby. So much for breakfast.
Two fairly young men sprawled loosely on the grass, talking animatedly about something. The one on the right is gesticulating, telling something interesting, cheerful, because his companion is smiling sweetly. An embarrassed smile also shines on the face of the woman sitting next to him. Underneath is a crumpled light blue cloth, the woman herself is sitting in a loose easy pose, completely naked, not too young, a little overweight.
The couple sitting next to her has the same color hair, they are the same age, possibly spouses. A second woman in a light, loose, white shirt can be seen a little farther away, but she can hear the conversation, she can be seen listening and smiling, too. The painting is full of light peace, warm tenderness. Zola called the canvas solid flesh, modeled by streams of light simply, truthfully and presciently.
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