Edouard Manet:
Painting "Le Déjeuner sur l'herbe" (The Luncheon on the Grass) in museum framing


Edouard Manet:
Painting "Le Déjeuner sur l'herbe" (The Luncheon on the Grass) in museum framing


390,00 EUR

incl. VAT plus Shipping

Product Actions

Add to cart options
Order-nr. IN-762013
delivery time: approx. 2 weeks

Short description

Reproduction, giclée on canvas | Wedge frame | Museum framing | Format 78.5 x 62.5 cm


Edouard Manet: Painting "Le Déjeuner sur l'herbe" (The Luncheon on the Grass) in museum framing

As Edouard Manet wanted in 1863 to present his painting to the Parisian Salon, he was rejected promptly. A painting of a naked woman, so offensive for that times, was certainly not to be displayed. However, due to the emperor Napoléon III, the painting was displayed in a separate section of the "Salon des Refusés" and, thus, became available to the public. The viewers reacted with scorn and derision – the display of a woman in such a revealing manner was a great scandal.

Manet was inspired for his "Luncheon on the Grass" painting by two well-known works, displayed in the Louvre. One of them was Titian’s "Pastoral Concert", which served him as actual theme, while the group array was based on "The Judgment of Paris" by Raphael.

The man sitting on the right is Ferdinand Leenhoff, a Dutch sculptor. He is the brother of Manetʼs wife, Suzanne. Supposedly, the woman in the background should be Suzanne. On the left, there is Manetʼs brother Eugène.

Initially, the painting was made in 1863, however, its original title was "Le bain" (The Bath). The original size is 208 × 264.5 cm and it was painted with oil on canvas. Today, it is displayed in "Musée d’Orsay" in Paris.

Giclée on canvas, stretched on a wedge frame. Theme size 70 x 54 cm. In exclusive museum framing. Format incl. frame 78.5 x 62.5 cm. 

Read more
Manet (1832-1883) is one of the most important French painters of the second half of the 19th century. Although he was one of the forerunners of the impressionists, his style remained independent. He met frequently with the founders of impressionism, who considered him as a great role model. After 1871 he is stimulated by contact with Claude Monet to the plein-air painting. In the year that followed, his paintings was characterize lighter, much vibrant colours and lighter, more sketchy brushwork.

Giclée = derived from the French verb gicler meaning "to squirt, spray".

Giclée method is a digital printing process. It is a high-resolution, large-format printout on an inkjet printer with special different coloured or pigment-based inks (usually six to twelve). The colours are light-fast, that is, resistant to harmful UV light. They have a high richness of nuance, contrast and saturation.

The Giclée process is suitable for real art canvas, handmade and watercolor paper and for silk.

Representation of typical scenes of daily life in painting, which can distinguish between peasant, bourgeois and courtly themes.

The genre reached its peak and immense popularity in the Dutch painting of the 17th century. In the 18th century, especially in France, the courtly and gallant painting comes to the fore while in Germany the bourgeois character was emphasised.

The style of Impressionism that emerged in French painting in 1870 owes its name to the Claude Monet's landscape 'Impression, Soleil Levant'. After initial refusal it began a true triumphant advance.

Such painters as Claude Monet, Edgar Degas, Edouard Manet, Auguste Renoir and others created motifs from everyday life, urban and landscape scenes in a bright, natural light.

Impressionism can be seen as a reaction to the academic painting. The emphasis was not on content with its strict rules of painting structure, but on the object as it appears at any given moment, in an often random cut out. The reality was seen in its whole color variety in natural lighting. The studio painting was replaced by the open-air painting.

The brightening of the palette and the dissolution of firm contours was accompanied by a new way of handling with color. Often, the colors were no longer mixed on the palette but side by side on the canvas so that the final impression lies in the eye of the beholder with a certain distance. In "Pointillism", (with such painters as Georges Seurat or Paul Signac) this principle was carried to the extreme.

Outside France, Impressionism was taken up by such painters as Max Slevogt, Max Liebermann and Lovis Corinth in Germany, and by James A. M. Whistler in the United States.

In sculpture, the impressionism expressed itself only conditionally. In the works of Auguste Rodin, who is considered one of the main representatives, you can see a resolution of the surfaces in which the play of light and shadow is included in the artistic expression. Degas and Renoir created sculptures as well.