{"id":1110,"date":"2021-05-14T05:35:03","date_gmt":"2021-05-14T02:35:03","guid":{"rendered":"https:\/\/mymanet.net\/?p=1110"},"modified":"2023-05-29T20:06:55","modified_gmt":"2023-05-29T17:06:55","slug":"the-composition-of-luncheon-on-the-grass-p8","status":"publish","type":"post","link":"https:\/\/mymanet.net\/home\/2021\/05\/14\/the-composition-of-luncheon-on-the-grass-p8\/","title":{"rendered":"The Composition of Luncheon on the Grass (P8)"},"content":{"rendered":"

The \u201cstory\u201d of Luncheon on the Grass<\/em> has been told many times, and the interpretation usually focuses on two themes:
\nThe scandal provoked by the female nude, and the fact that
\nManet borrowed the basic composition from two Old Masters, Titian and Raphael.<\/p>\n

As far as the scandal <\/i><\/b>is concerned, I tend to agree with Robert Herbert (1988), among others, that Manet himself did not intend to produce<\/em> a scandal. The \u201cstory\u201d of Manet, the rebel, causing a scandal, is based on the reception<\/em> of the painting by the public and the rejection<\/em> by contemporary criticism.
\nTo some extent, we have to attribute the interpretation of the Luncheon<\/em> to the reactions to the other<\/em> painting causing an even greater scandal, the Olympia<\/em> (1863). The latter painting does show a prostitute or, rather, a courtesan reclining on an impressive diwan who could afford a coloured woman as a maid presenting a quite expensive flower bouquet from a well-to-do customer.
\nThere were literally hundreds of paintings with nude women in the Salon in 1863 when Luncheon<\/em> was rejected, or in 1865 when Olympia<\/em> was exhibited.
\nSo what exactly caused the scandal?<\/p>\n

Figure 1:  Two scandals starting Manet\u2019s career \u2013 Luncheon on the Grass<\/em> and Olympia <\/em><\/p>\n

\"\"       \"\"<\/p>\n

The relationship between the two paintings is, indeed, very interesting. But in my view, the fascinating relations are not linked to the presumed allusion of both to the issue of modern life and prostitution in Paris of the time. I do not think that Luncheon on the Grass is about prostitution at all, although it is <\/em>about modern urban life.
\nI will return to the theme of social scandal in a following post.<\/p>\n

What I find interesting has more to do with the second theme, the question of composition<\/em> <\/b>of the Luncheon<\/em>.
\nThe two paintings are created at the same time, and yet they seem to be totally different in their approach to composition. This is easily explained, if we are content with pointing out that they cite very different Old Master paintings.
\nThis causes a problem, however, if we propose \u2013 like in MyManet<\/em> \u2013 that Manet developed in Luncheon<\/em> a programmatic <\/i>scheme for other paintings to follow.
\nHow are the two paintings related on a structural level?
\nWe have to return to this question when discussing Olympia<\/em>, and after clarifying the scheme for Luncheon on the Grass<\/em>.
\nSo we ask:<\/p>\n

Question 6: How can I paint a female nude following the formal scheme?<\/em><\/strong><\/p>\n

As Michael Fried \u2013 an expert on Manet – describes the painting:
\nIt is \u201chis sheerest, most intractable masterpiece<\/i><\/b>\u201d (1998, p. 57; emphasis added).
\nHe notes that Manet\u2019s \u201cuse of previous art was highly conscious, even programmatic, though it has not yet fully emerged what that program was\u201d (p. 81). He goes on to argue that Manet aimed at a new synthesis of the French art tradition with Italian, Dutch and Spanish traditions. Manet\u2019s way of achieving it, Fried sees in a certain kind of \u201ctheatricality<\/b>\u201d found in the realism of the French tradition, especially in the Le Nain brothers and Antoine Watteau.
\nAspects he describes as \u201cessentially theatrical – that the figures are grouped, that they either confront the beholder or in effect pose for him, that they participate only in the most formal or conventionalized of actions <\/em> \u2013 were experienced not just as compatible with realism but as intensely, even uniquely realistic in their own right. The crucial notion, here as elsewhere, was that of naivet\u00e9<\/em>\u201d (fn 111, p. 485; italics added). Thus, Manet found \u201ca new paradigm of what a painting was\u201d (fn 97, p. 482).
\nBut what is the compositional aspect in that paradigm of grouped figures?<\/p>\n

I learned immensely from Fried\u2019s analysis about the sources and the meaning of elements in Manet\u2019s painting. However, his way of composition<\/em> is not explained by the selection<\/em> of elements, especially, since it is generally agreed that Manet did not simply \u201cborrow\u201d entire compositions.<\/p>\n

John Rewald (1961, p. 86; emphasis added) detects a \u201ccurious lack of imagination<\/i><\/b>\u201d leading Manet to \u201cborrow\u201d subjects from other artists. But Manet certainly demonstrates a lot of creativity in integrating these citations into an own composition.<\/p>\n

This is not John Richardson\u2019s view, he flatly states: \u201cManet\u2019s sense of design was faulty<\/i><\/b>\u201d(1982, p. 9f; emphasis added). He initiates a discussion on \u201cManet\u2019s compositional difficulties\u201d referring to the Luncheon on the Grass <\/i>as well as other paintings in the 1860ies.<\/p>\n

Anne Coffin Hanson tries to defend Manet discussing critical reactions to Richardson\u2019s evaluation. But in the end, we are left with few remarks on more formal principles of composition such as proportional systems, diagonals and triangles. \u201cOf all the qualities of Manet\u2019s art, his picture construction has been least understood<\/i><\/b>\u201d, is her resume (1977, p. 197ff; emphasis added).<\/p>\n

For Sandblad (1954, p. 93f), Manet makes \u201cefforts to transform the pastoral idyll which he had set up on the floor of his studio into a decorative and ordered picture on the surface of the canvas\u201d \u2026 \u201d the three strictly contoured figures in the foreground appear like paper dolls pinned to the surface of the canvas<\/i><\/b>\u201d… \u201c(Luncheon on the Grass<\/em>) did not become the definitive work <\/i><\/b>which Manet had presumably dreamt of” (emphasis added).
\nThis \u2013 according to Sandblad – was achieved in Olympia<\/em>.<\/p>\n

Robert Herbert offers a brilliant description of the \u201csocial form\u201d of picnics and the Parisians\u2019 concept of leisure and landscape comparing it especially with Claude Monet\u2019s version of the same theme two years later.
\nWhile pointing out Manet\u2019s ironic way of \u201cmocking history and its guardians, the academy\u201d, Herbert also has his difficulties with the figures: \u201cNot only do they appear as virtual cut-outs, arbitrarily transported from the studio<\/i><\/b>, but their wooded clearing seems as artificial as a stage set<\/i><\/b>. Among other things, our view back to the water on the left cannot be reconciled with our view through the center (the foliage over the nude\u2019s head is too obvious a device to bridge the two perspectives successfully). \u2026 Manet\u2019s painting, in fact, is built upon the juxtaposition, rather than the integration, of its separate parts<\/i><\/b>.\u201d It is not yet \u201ca piece of contemporary leisure that embraces a more satisfactory narrative\u201d (1988, p. 172f; emphasis added).<\/p>\n

I find it amazing that one of the most famous paintings in European art history evokes such puzzled reactions from the art community!<\/em><\/p>\n

The most convincing analysis I have found so far in the literature is the one by Michael L\u00fcthy (2003).
\nHis approach focuses directly on Manet\u2019s use of gazes in the \u201cinternal\u201d order of the painting and the \u201cexternal\u201d relationship to the viewer, and it places Luncheon on the Grass<\/em> in the context of other paintings of Manet to discuss an emerging pattern.
\nMyManet<\/em> is inspired by him, and I will return to his book for guidance in other cases, also discussing the differences of our approaches.<\/p>\n

The emerging scheme is obviously only one <\/i>perspective among many others, but it confronts the issue of Manet\u2019s \u201ccompositional difficulties\u201d directly. Interpretations of the composition are quick to demonstrate that Manet was inspired by at least two paintings. What is typically overlooked is the question:
\nWhy these two – and not any of the countless other paintings in the Louvre museum?
\nManet did not copy<\/em> either one, he selected elements from both and combined them in a new way.
\nWhy did he choose these elements and combined them the way he did?<\/p>\n

Let us take a look at the first painting Pastoral Concert<\/i> (1508) by Titian, attributed to Giorgione at Manet\u2019s time. The painting was (and still is) in the Louvre museum and Manet made a free copy of it earlier.<\/p>\n

Figure 2: The Pastoral Concert by Titian (1508)<\/p>\n

\"\"<\/p>\n

The painting delivered the basic idea of two nude women and two dressed men. They have interrupted their music, and the female to the right seems to wait patiently until the two men have settled some issue, while the second woman gets the drinks (sounds somewhat familiar?).
\nIn the background, a shepherd is tending to some sheep, but no one is alarmed; there is no sexual activity interrupted here. In the good old days (over 3oo years ago) painting this scene was no scandal, and it hanging in the Louvre at Manet’s time was no scandal either.<\/p>\n

So, Manet transposed the scene into modern urban life \u2013 only, now it was a scandal if people did that sort of leisure activity in the Bois de Boulogne, the park near Paris! And a metaphorical interpretation \u2013 like long ago \u2013 was not acceptable by the viewers (and not intended by Manet). After all, these people could quite readily be identified as contemporary, living individuals, at least by insiders of the art community.<\/p>\n

Again, I am not worried about the scandal, but interested in two other aspects.
\nTherefore, I did a little transformation of the piece by mirroring it and moving the lady at the left edge into the background \u2013 see Figure 3.
\nFirst, this way it is obvious that Manet borrowed the theme and the basic composition from Titian. Mirroring images was something very common to him since he worked often with printing techniques.
\nSecond, we see that Titian used a split horizon with a different perspective into the depth toward the shepherd, now on the left. We find the same split in Luncheon, and in both paintings the areas are separated by dark bushes and trees, as noted by Herbert (see above; although without mentioning the same element in Titian).
\nThe relationship between the two paintings was generally recognized by contemporary critics.<\/p>\n

Figure 3: Modifying Pastoral Concert<\/em> to match Luncheon on the Grass<\/em><\/p>\n

\"\"       \"\"<\/p>\n

But there is an important difference which was not mentioned then, and not in later discussions.
\nIn Pastoral Concert<\/em> the three central figures are looking at each other \u2013 they are \u201cabsorbed\u201d in their activity.
\nWhy did Manet change that<\/em> if the composition was so suitable?<\/p>\n

Noticed by the art critic Ernest Chesneau at the time, Manet had a second inspiration from where he took the arrangement of the central triad, an etching by Raimondi of Raphael\u2019s Judgement of Paris<\/em> (ca. 1475).
\nHere we see three river gods sitting in the right-hand corner in the same arrangement as the triad in Luncheon<\/em>.
\nIn Raphael\u2019s composition, the triad and especially the outlooking woman has the function of introducing the viewer into the picture. This relation to the viewer is exactly what Manet is aiming at – only that he is not interested in leading the viewer into an allegory or \u201cstory\u201d shown in the main part of the painting.
\nThe viewer relation is <\/strong>the \u201cstory\u201d!<\/em><\/p>\n

Figure 4: Etching by Raimondi of Raphael\u2019s Judgement of Paris \u2013 with markings of Manet\u2019s scheme<\/p>\n

\"\"<\/p>\n

The elimination of the rest of Raphael\u2019s painting induces certain changes \u2013 marked in Figure 4 following our scheme.
\nThe basic orientation of the figures with the female (First, red) turning toward the viewer and their gazes away from each other is maintained.
\nBut the male to the right (Second) is leading into the whole painting or onlooking (green) toward the scene to the left – his right hand extended by a palm branch behind the group. In the  Luncheon<\/i>, he is only looking at the other two (blue). His right hand is not needed to point to the scene beyond; in Luncheon<\/i>, a somewhat indistinct pointing or arguing finger has to do. The oar in his left hand is substituted by a fashionable cane supporting a main diagonal in the painting.
\nThe other male (Third, purple) is in the Luncheon<\/em> not looking up and backward toward Jupiter arriving from heaven. In modern urban life in Paris, you might see the balloon of Manet\u2019s friend Nadar drifting by in the sky, but this would occur more to the front where the light is coming through the foliage. (Remember, Manet was making lithographs of this balloon.)<\/p>\n

For the interpretation of the Third in Manet\u2019s triad we have previously identified the function of relating to some external \u201cauthority\u201d or Big Other. This interpretation is readily supported in Raphael\u2019s painting!
\nAfter all, Jupiter is the final authority arriving to confirm the judgement of Paris (the figure to the left in the inner circle) on the beauty of Venus (the female hugged by the little angel). I am sure, Manet appreciated the \u201ctheatricality\u201d of the scene with a backfigure, the nude in the centre, wisping away the cloth hiding her beauty. But this kind of storytelling is exactly what he was trying to avoid.<\/p>\n

Another intriguing element in Raphael\u2019s painting is the figure of Hermes who is in the inner circle looking from the back onto the scene! So far, I found no reference to this element in the literature on Manet.
\nQuite clearly, Hermes is completing the inner scene to a group of four figures which again form a mirror image of Manet\u2019s composition<\/em>. Thus, Hermes is in the position of the \u201cother\u201d! Since Hermes is the messenger and mediator between humans and the divine, there hardly could be a better figure in Greek mythology to fill that position in Manet\u2019s scheme.<\/p>\n

Manet did not talk or write about the choices he made in the composition of Luncheon on the Grass<\/i>.
\nWe know that he made his decisions deliberately with knowledge about traditions in literature and art and with a witty irony directed both toward traditions and modern society. The choices for inclusion of elements and their arrangement in the Luncheon<\/em> are no exception. What he deliberately modified into a composition of his own were the gazes of the figures establishing a relationship between an \u201cinternal\u201d and an \u201cexternal\u201d order.<\/p>\n

Manet was developing a programmatic scheme, a \u201cnew paradigm of what a painting was\u201d characterized by a new realism and naivet\u00e9 (Fried).<\/p>\n

In the next post, I will pull all these elements together in a diagram of Manet\u2019s scheme.<\/p>\n

See you next week!<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Manet’s sources in “Luncheon on the Grass” and the development of his compositional scheme<\/p>\n","protected":false},"author":199326225,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_crdt_document":"","footnotes":""},"categories":[156853,225364],"tags":[18396,156853,4885002,273059,4230951],"class_list":["post-1110","post","type-post","status-publish","format-standard","hentry","category-diagram","category-manet","tag-composition","tag-diagram","tag-luncheon-on-the-grass","tag-naivete","tag-programmatic"],"yoast_head":"\nThe Composition of Luncheon on the Grass (P8) - My Manet \u2013 Your Manet<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mymanet.net\/home\/2021\/05\/14\/the-composition-of-luncheon-on-the-grass-p8\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Composition of Luncheon on the Grass (P8) - 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