The Luncheon on the Grass
Dating back to the origins of modern painting, people usually took The Luncheon on the Grass exhibited in Also-Ran Salon in 1863 by Manet as the start. Napoleon III wanted to start with a whip of immortality, and the painting world underwent rapid changes. Here, the painter imitated the composition of Giorgio's Concerto Campestre (also known as Pastoral Concert). But it was not the kind of idyllic paintings in Venice in 16th century. The naked woman in this painting was the model Melon appearing in his early painting Victor Lena Melon Wearing Matador Costumes. She was a prostitute that Manet brought from the street and had long been the model for Manet. The painter asked her to nakedly sit in the forest grass and accompanied two gentlemen (Ferdinand and Manet's brother Oren. Manet); on the left, there was a overturned basket with the food rolling out of the basket; in the background lake pool, a woman only wearing a shirt was added, leaning over to stand in the water. This was a deliberate arrangement of "picnic", which was the bold trial of the painter to seek color contrast. This composition was annoyed by many protagonists in the painting world. Concerning this painting, the critics have also been divided into two parts
Manet expressed this meaning so clearly. He made the right hand and left hand of Ferdinand and the left foot of Victor Lena with the uniform color and same texture as well as painting the raising hands of Ferdinand in a central position. It was a triangular anatomical apex. Others have pointed out that it is a symbol of traditional promiscuity of mea and women. The name Manet familiarized by all the studio people had been put in Paris people's mouth who were concerned about the painting exhibition.
Because of the exhibition in Also-Ran Salon in 1863, this painting caused a rare sensation. The painter directly showed the outside world and put the naked women and gentlemen together. This painting made a bold innovation of the traditional paintings and got rid of the fine strokes and a large number of sepia tones by using bright and flat colors with strong contrast. All of these were unbearable for the official academism. In terms of composition, this painting put the characters in the woody background whose center launched a limited depth. That bent woman became the vertex of the classical triangular composition consisting of three figures in the foreground. In technique, the painter furthered his proposal and made new attempt in the external light and dark background, so this painting was an innovation both in art and historical significance.
Some people think The Luncheon on the Grass is the expression of human nature and moral confusion. They are ignorant of art. Art can express any beautiful behaviors or things and look for the beauty in the life granted by the nature. Art is the embodiment of beauty and is the messenger looking for and pursuing beauty. Also it is beyond worldly fame and morals, which is a very elegant and pure heart. In his last few years, Manet painted a lot of charming female portraits in toner. These portraits were not focused on his style and characteristic performance and also did not show the Impressionism shading effect, but to satisfy the common appreciation feeling. Victor Melon was the model of impressionist painter and other contemporary painters. She was perhaps the most famous face and body in the 19th century. In Manet's paintings Olympia, The Luncheon on the Grass, Melon was either nakedly lying in bed, or sitting between two men, with firm, calm and proud eye looks. She was obviously not seen, but watching the erotic tales in a reverse Venus's gesture.