Le Dejeuner sur l'herbe 1863 By Edouard Manet

Le Déjeuner sur l’Herbe by Édouard Manet

Le Dejeuner sur l'Herbe is a famous oil painting, completed in 1863. It is generally known by its English title, Luncheon on the Grass, although Edouard Manet initially titled his painting Le Bain, which translates to The Bath.

What Is the Meaning of Manet’s Luncheon on the Grass?

Le Déjeuner sur l’Herbe challenges 19th-century academic painting by placing a nude woman in a modern, non-mythological setting, confronting viewers with questions of morality, realism, and social convention in Paris.

Edouard Manet's Luncheon on the Grass depicts a female nude having lunch with two male companions. In the relatively dark scene, her body shines brightly, directly drawing the viewer’s attention to her gaze and physique. The two men appear deep in conversation, seemingly ignoring the nude woman. In front of the trio, a collection of objects is visible. These consist of items such as the woman’s discarded clothes, fruit, and bread depicted in the still life tradition.

Most intriguingly, however, another female appears in the scene. Located behind the group, a lightly dressed woman washes in a stream. The image is dreamlike, encouraging the viewer to question the reality of her presence. Furthermore, her large form overshadows the other figures, creating an impression that this ghostly figure floats above the scene.

While the brushwork in the foreground is precise, the background features loose brushstrokes, a deliberate artistic choice. The forest lacks creative depth, suggesting that the scene was not an accurate outdoor observation but rather a meticulously constructed studio set.

Furthermore, the use of studio lighting heightened the painting's surreal quality. The careful observer will note the almost complete lack of shadows. Supporting this interpretation, the man sitting on the right-hand side of the composition also wears a tasseled flat cap. During the 19th century, men only wore these hats indoors.

This man's likeness combines the likenesses of Manet’s two brothers: Eugène and Gustave Manet. The other man closely resembles his brother-in-law, Ferdinand Leenhoff. In this way, the work forms a rather unusual family portrait.

This analysis follows established art-historical research from museum collections, including the Musée d'Orsay and the Courtauld Gallery, as well as extensive scholarly commentary from the 19th-century critic Émile Zola.

Why Is the Woman Nude in Luncheon on the Grass?

There are many theories on why Manet depicted a fully nude woman in Luncheon on the Grass. Theories range from contrasting masculine and feminine qualities, a commentary on power dynamics, experience and innocence, light and dark, and even reinforcing the apparent social differences between the two clothed men and the naked woman.

In this latter interpretation, the woman’s presence could be seen as a critique of contemporary Parisian society. In a rapidly industrializing nation, the gap between the rich and the poor widened. This social and economic injustice worsened with the entrenched French class system and deep conservatism amongst the Parisian upper classes.

Who was the Model for Luncheon on the Grass?

Whatever the reason for one of Manet's most famous nude paintings, we know the woman was Victorine Meurent, a favorite model of Manet's who he frequently painted throughout his career. Victorine also appears in another of Manet's famous nude paintings, Olympia, which is part of the Musée d'Orsay collection.

What does the Nude Woman Symbolize?

In both oil paintings on canvas, Victorine looks directly at the viewer. It is unclear whether she challenges, welcomes, or rebukes our gaze, or whether she invites us deeper into the scene to gaze beyond the pictorial space. In this way, the woman’s internal contemplation and her nudity become vital features of the painting and of its impact on the viewer.

Why did Manet paint Le Déjeuner sur l’Herbe?

We know little about Manet’s reasons for painting Luncheon on the Grass.

For instance, it is unknown exactly when Manet began work, only that it was sometime in 1862 or 1863. In addition, Manet left no preparatory sketches or notebooks discussing the painting.

However, this work held personal significance for the artist.   At considerable personal cost, Edouard Manet chose a vast canvas measuring 82 x 104".  At this time, large canvases were traditionally reserved for mythological or Religious art.

In addition to subverting compositional expectations, Manet also broke with the Classical Art tradition favored in France at the time. He did not blend his brushstrokes or carefully mix paints, and even contemporary observers note some areas of the painting appear unfinished.

Furthermore, Manet's painting creates the impression of a natural, life-like woman staring back at the viewer. The blemishes on her skin are visible, and her face possesses a true sense of personality and individuality. In comparison with the flawless, heavily stylized nude paintings by other famous French artists, such as Jean Auguste-Dominique Ingres and Alexandre Cabanel, Manet’s pioneering approach is straightforward.

Another interpretation of the work furthers Edouard Manet’s determination to remain faithful to reality. For example, it could depict prostitution, an activity rife at the Bois de Boulogne, a large park far from Manet’s home and studio.  This prostitution, with many upper-class men forming the clientele, was well-known in Parisian society. Nonetheless, prostitution was too controversial a topic for direct painterly representation.

What is Shocking about Edouard Manet's Painting?

The representation of a nude woman sitting casually and enjoying lunch with two well-dressed men scandalized French society. Indeed, it remains an image capable of shocking even today. While some contemporaries, such as Émile Zola, argued in favor of the work, the French artistic establishment considered it too shocking for acceptance in the traditional Paris Salon Exhibitions.

Indeed, Manet initially submitted the work for display at the Salon of the Académie des Beaux-Arts. After its rejection, however, he opted for presentation at the Salon des Refusés. Here, the painting became a cause célèbre. Critics either warmly praised or scathingly condemned the painting.

Some claimed  Edouard Manet’s brushwork appeared underdeveloped, whereas others claimed the painting lacked sincerity and its technique was “flabby.” While one critic described the nude woman as ugly, another criticized one of the men for not taking off his “horrible, padded hat.”

On the other hand, some critics praised the vivid depiction of a countryside scene and Manet’s expert use of color and energetic composition. Émile Zola described Le Dejeuner sur l'Herbe as the greatest painting by Edouard Manet.  Zola claimed Manet realized the dream of all painters to represent figures with natural grandeur amid a landscape. He also criticized social hypocrisy by pointing out the plethora of celebrated classical artworks in the Louvre Gallery depicting nude women with clothed figures.

Where is Manet’s Luncheon on the Grass?

The actual location of Luncheon on the Grass remains a subject of hot debate. Most art historians argue that the landscape is l'Île Saint-Ouen, an idyllic spot just a short distance along the Seine River from Manet’s family home in Gennevilliers in the northwestern suburbs of Paris.

In terms of the painting’s physical location, Le Déjeuner sur l’Herbe stayed in Manet’s possession until 1878, when it was sold for 2,600 French Francs to Jean-Baptiste Faure, a celebrated French opera singer and art collector. The painting stayed in the ownership of Jean-Baptiste Faure for many years.

Le Déjeuner sur l'Herbe now resides at the Musée d'Orsay, accompanied by a smaller version (likely created by Manet as a study) at the Courtauld Gallery in London.

Own a Museum-Quality Reproduction of Manet’s Luncheon on the Grass

Our museum-quality oil painting reproductions of Édouard Manet’s Le Déjeuner sur l’Herbe are individually hand-painted on canvas by professional artists using traditional techniques. Each reproduction is created to order, ensuring faithful color harmony, scale, and brushwork. Our replica oil paintings are never printed, automated, or mass-produced, offering a refined and lasting way to bring Manet’s masterpiece into your home.

Explore our curated collection of Impressionist oil paintings, faithfully hand-painted using premium materials for lasting beauty, authenticity, and display quality

Shop Now to find your perfect piece of art history.