Courbet this painting was his largest paintings. One cannot

Courbet felt that if he was no longer
controversial, he would no longer be important. On the other hand, Édouard
Manet wanted to become one of the leading French painters of his time, and it
was evident that an artist had been born. He felt that progress in his work was
only going to be made if he looked at nature as it is, rather than copying
those above him; this was see as Manet speaking his own language that belonged
entirely to him (Zola, 1867). In terms of Le
Déjeuner sur l’Herbe, it is
not definite to when Manet began to paint this canvas, who the models were or
how he decided on the posing but it is certain that this painting was his
largest paintings. One cannot be certain to the meaning of this painting, which
gave it endless possibilities and attracted attention from critics (Tucker,
1998). There were some disapproving remarks from critics, but many positive
comments made about Le Déjeuner sur l’Herbe. One critic
even stated Manet would “triumph one day, we do not doubt, over all the
obstacles which he encounters, and we will be the first to applaud his success”
(Tucker, 1998). This painting, Manet’s most famous,
remained in his hand until 1878 when opera singer Jules France purchased it for
her collection of Impressionist art (Tucker, 1998).

work immediately became a standard for avant-garde painters; he was involved in
both society and political events of his time and focused on the relation of
the artist to society rather than a social fact (Nochlin, 1991). The way in
which Manet executed his work, the environment he displayed it and the ways it
relates to past was a major aspect to art in Manet’s time. Manet had submitted
two paintings – The Spanish Singer and
Portrait of M. and Mme. Auguste Manet
– to the jury for the 1861 Salon. As well as gaining admission to the Salon,
Manet received positive acknowledgement from the jury, which was a major
achievement in his career (Tucker, 1998). Throughout Manet’s work,
one can see the fundamental elements of art, such as line, colour, light, and shade.

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is seen in many of Manet’s work that Gustave Courbet’s details played
significant role in the overall creations, especially
in Le Déjeuner as the use
of real life subjects are drawn used with Courbet’s palette knife. The two
artists tend to use similar shading techniques in Le Déjeuner and The
Painter’s Studio where they are highlighting and important figure in each
painting, the nude woman. Each artist’s work represents real and existing as “abstract,
invisible or nonexistent objects do not belong in the realm of painting”
(Nochlin, 1991). Courbet and Manet wanted to depict working class laborers, and
peasants but on a large scale, which in the nineteenth century was reserved for
history painting.