Le Déjeuner sur l’herbe: A Detailed Analysis of Manet’s Masterpiece
Le Déjeuner sur l’herbe
by Édouard Manet (1863)
General Information
Title: Le Déjeuner sur l’herbe
Artist: Édouard Manet
Date: 1863
Style: Impressionism
Technique: Oil on canvas
Dimensions: 2.08m x 2.64m
Location: Musée d’Orsay, Paris
Technical Analysis
Technical Elements
Manet’s innovative use of color is evident in Le Déjeuner sur l’herbe, particularly the predominance of greens in a wide range of shades, from bright to dark, depending on the light. His approach to shadows was revolutionary, using projected colors in richer tones, a technique later adopted by the Impressionists, moving away from the traditional use of gray. The stark contrast between the white of the nude female figure and the dark clothing of the men adds to the visual impact. The color application tends to be flat, without traditional shading or gradation. Natural light plays a key role, casting colored shadows, creating an effect like a secondary drawing within the painting. The use of complementary colors, such as yellow against violet and white against black, is a notable feature. Finally, the loose brushwork contributes to the overall impressionistic feel.
Formal Elements
The composition echoes classical Renaissance styles, yet the figures appear independent of each other. The arrangement is uneven and disproportionate, suggesting a deliberate manipulation of perspective.
Style
The painting reflects both Manet’s personal style and the broader Impressionist movement. Impressionism emerged in France as a development from the Barbizon School (Georges Michel, Théodore Rousseau, Millet, Corot, and Courbet), who focused on plein air painting. Impressionists sought a new language based on extreme naturalism and subjectivity. Influenced by photography, they aimed to capture specific moments as perceived by the human eye. Color theory, developed by Chevreul and Rood, played a significant role, emphasizing primary and complementary colors. Chevreul’s theory of simultaneous contrasts, where colors diffuse a border of their complementary color, is also evident. Impressionists viewed color as a form of light, painting with juxtaposed brushstrokes and eliminating traditional chiaroscuro. Shadows were rendered with touches of complementary colors. Manet is considered a precursor to the movement, with other key figures including Monet, Renoir, Degas, Pissarro, Sisley, Cézanne, Boudin, and Berthe Morisot.
Interpretation
Function
Exhibited at the Salon des Refusés in 1863, after being rejected by the official Salon, Le Déjeuner sur l’herbe was likely intended for sale, serving a decorative function.
Context
19th-century France experienced significant political and social upheaval, including the Napoleonic era, the restoration of the monarchy, and the Industrial Revolution. This period of economic liberalism saw rapid technological advancements, transforming agriculture, transportation, and trade, leading to the rise of consumer society. Scientific progress fueled industrial development, and the search for a balance between social rights and material progress shaped the era.
Influences
Manet was influenced by Spanish masters like Goya and Velázquez, as well as Giorgione (The Pastoral Concert). His work, in turn, influenced later artists, notably Picasso.
Content and Meaning
Le Déjeuner sur l’herbe depicts an everyday scene, a picnic in a park. While seemingly simple, the painting’s meaning remains open to interpretation. Some art historians believe it primarily explores pictorial research and color, while others suggest deeper, possibly unknown, subtexts.