Manets Masterpiece Lunch On the Grass

It raised more than eyebrows, to say the least, when Manet unveiled his masterpiece Le déjeuner sur l’herbe (Lunch on the Grass) though the title suggested nothing crass or provocative, much less scandalous. After all, a naked woman was as common in french art as wine and cheese were staples on kitchen tables for centuries. That the scene depicting two well-dressed men lunching innocently with a naked femme should have caused an explosive outrage equal to a heinous crime or one as grave seemed foreign to French art in Manet’s days, at least among painters like Renoir whose buxom bathers were seen with joie1 by critics and art lovers alike but corrupt and condemned as immoral by an up and newly rising class of bourgeoisie2 who found Manet’s daring “pas tout à fait”3 to their holier-than-thou goûts.4 So what was different about this painting that had so many parisiens complaining? Could it be they feared Manet’s naked lady might destroy centuries of French morality? Now you might agree, or even disagree that two men lunching with a naked lady in no way violated public morals as had far worse issues caused scandals. since nudity in art had been raised to high art and for artists de riguere5 to do. And you may be right, of course. Yet unless you had seen her painted in the flesh the impact of Manet’s daring would not have jolted your complacency a jot or raised your ire much less your eyebrows as it did those prudish Parisienne crowds. And since words have shock value as much as a painted image, I’ve chosen one such that should, I believe, recreate the shock those first Parisiennes felt and maybe knock your smelly puritanical socks off at seeing not just a naked lady conversing with two well dressed gents on a bed of grass but a lady stripped down to her bare a--! 1. Joie = joy. 2. Bourgeoisie = French rising middle or working class. 3. pas tout à fait = not quite 4. goûts = tastes. 5. de riguere = required because of etiquette, fashion, or custom.