Le Dejeuner Sur L'Herbe

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Bol Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Le déjeuner sur l'herbe (French, "The Lunch on the Grass") - originally titled Le Bain (The Bath) - is a large oil on canvas painting by Édouard Manet. Created in 1862 and 1863, its juxtaposition of a female nude with fully dressed men sparked controversy when the work was first exhibited at the Salon des Refusés. The piece is now in the Musée d'Orsay in Paris. A smaller, earlier version can be seen at the Courtauld Gallery, London. In 1863, Manet shocked the French public by exhibiting his Déjeuner sur l'Herbe ("Luncheon on the Grass"). It is not a realist painting in the social or political sense of Daumier, but it is a statement in favor of the artist's individual freedom. The shock value of a woman, naked as can be, casually lunching with two fully dressed men, which was an affront to the propriety of the time, was accentuated by the familiarity of the figures. Manet's wife, Suzanne Leenhoff, and his favorite model, Victorine Meurent, both posed for the nude woman, which has Meurent's face, but Leenhoff's plumper body. Her body is starkly lit and she stares directly at the viewer.

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Beschrijving (1)

Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Le déjeuner sur l'herbe (French, "The Lunch on the Grass") - originally titled Le Bain (The Bath) - is a large oil on canvas painting by Édouard Manet. Created in 1862 and 1863, its juxtaposition of a female nude with fully dressed men sparked controversy when the work was first exhibited at the Salon des Refusés. The piece is now in the Musée d'Orsay in Paris. A smaller, earlier version can be seen at the Courtauld Gallery, London. In 1863, Manet shocked the French public by exhibiting his Déjeuner sur l'Herbe ("Luncheon on the Grass"). It is not a realist painting in the social or political sense of Daumier, but it is a statement in favor of the artist's individual freedom. The shock value of a woman, naked as can be, casually lunching with two fully dressed men, which was an affront to the propriety of the time, was accentuated by the familiarity of the figures. Manet's wife, Suzanne Leenhoff, and his favorite model, Victorine Meurent, both posed for the nude woman, which has Meurent's face, but Leenhoff's plumper body. Her body is starkly lit and she stares directly at the viewer.


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