"I paint what I see, and not what others like to see."

 

Edouard Manet, Le Dejeuner sur l’herbe (1863) 

oil on canvas approx. 7’ x 8’ 10” Musee d’ Orsay

Entering into the late 1800's, more prostitution is being revealed within art work. Although, I am not a huge fan of nudity in any sense, I do find the mystery behind this painting intriguing. This work of art is not anything like that of Bonington or Constable's landscapes, rather it would seem to be much more focused on the human aspects than the natural aspects. Edouard Manet was an Impressionist of this time, and his work was always done in the way that he preferred rather than how or what he thought the critics might say.

"I paint what I see, and not what others like to see." -Edouard Manet

Manet intended on making his own rules regarding his artwork, and he set the tone for the up and coming impressionism. Although the Impressionist Movement did not officially begin until the 1900's, Manet was a contributor to the formation of Impressionism. He opposed most academic art and instead preferred to paint artwork that was familiar to himself. He enjoyed painting those around him as well as landscapes in nature.

In this particular work, Le Dejeuner sur l’herbe (1863), Manet depicts two women and two men in the middle of the day in the forest.The critics in Paris would not approve this painting because of the nudity and suggestive action that one would assume has or will take place. It seems quite peculiar to the viewer as to why Manet would paint something so explicit and risque. The first thing we notice about this work is the nude woman laying on a sheet with two fully-clothed men sitting next to her. In my mind, I see this as a rendezvous during the middle of the day where these four adults could hide away and escape into their secret desires. The thought was that because of the way the nude woman turned her head directly toward, the painter, that the viewer or painter was presumably a male, thus there must be some kind of Biblical message or mythological reasoning behind this...right?

Well, some would agree and others might not, but after much thought and research it appears that there is an element of scandal here. The man on the right staring at the nude woman, the nude woman starring directly at the viewer or painter, the partially-clothed women, in her undergarments, totally clueless of what is taking place right in front of her, and the man sitting beside the nude woman appears to be staring off or looking at the viewer as well - seems questionable as to if they are ashamed of something they have done. Nonetheless, the critics that viewed Le Dejeuner sur l’herbe (1863) were outraged. Their disappointment was not the result of the nudity or the suggestive innuendos, rather it was the back portion of the painting. Manet left the back of the painting as almost empty brush area in the back of the “forest,” and they thought he publicized it when it was unfinished. He told the critics that when he decides he is finished, then he is finished, thus the level of a finished work and the relationship between artist and critics changed from this moment forward.

 

Edouard Manet, Olympia (1863) oil on canvas, 

4’3” x 6’ 3” Musee d’ Orsay

Manet upset the critics very much, but he did not care about what judgements they made concerning his art. It was only his opinion that mattered to him. In any case, Manet continued on in his paintings of the nude, and, in my opinion, representing woman as lesser than. In Olympia (1863), Manet speaks through his artwork once again and implies that there is a sexual innuendo occurring in the midst of the forest. The thought here is if you want to see God then you have to Mount Olympia. Where did this come from one might ask? Such a piece of art, and then he brings in an innuendo... Is that really necessary? Nevertheless, he explains himself in relating the direction of the woman's face and body language to mythology, and we can assume that the woman depicted in the painting is a prostitute, possibly a well-known prostitute. Thus, Manet is stretching the limits according to the time periods moral standards.

I feel as though Manet uses his colors very wisely and can manipulate a painting to appear almost realistic. I like the fact that he involves almost a mystery or a challenge to the viewer to understand "the method to his madness" in creating both Le Dejeuner sur l’herbe (1863) and Olympia (1863). These paintings invoke a sense of uncomfortabelness and awkwardness for me. As an owner of Gallery 9310, I feel as though I must include the works regardless because they invoke thought process and create a challenge to viewers. These works also helped me understand the meaning behind why many woman that were painted or photographed during the late 1800's, would be painted or photographed looking directly at the camera or the artist. I had no idea that there was a deeper, underlying meaning - they were usually prostitutes. I feel as though, I would not be so direct or open to sharing that if I were one, but as a viewer and spectator of Manet's works I really do value the educational value that they hold for future generations.

I hope you enjoyed learning a little more about art in the late 1800's, and I would love to hear more about what you think about these two great works of art. Thank you for reading!!

-Gallery 9310, The Owner