Editing Édouard Manet (section)

===''Luncheon on the Grass ''(''Le Déjeuner sur l'herbe'')===
{{Main|Le Déjeuner sur l'herbe}}
[[File:Edouard Manet - Luncheon on the Grass - Google Art Project.jpg|thumb|left|''[[Le Déjeuner sur l'herbe|The Luncheon on the Grass]]'' ({{Lang|fr|Le déjeuner sur l'herbe}}), 1863]]
Another major early work is ''[[Le Déjeuner sur l'herbe|The Luncheon on the Grass (Le Déjeuner sur l'herbe)]]'', originally ''Le Bain''. The [[Paris Salon]] rejected it for exhibition in 1863, but Manet agreed to exhibit it at the [[Salon des Refusés]] (Salon of the Rejected).{{sfn|Brombert|1996|p=130}} This parallel salon was initiated by Emperor [[Napoleon III]] as a solution to the public outcry after the official salon's Selection Committee only accepted 2,217 paintings out of more than 5,000 submissions. It gave rejected artists the opportunity to display their paintings if they chose.{{sfn|King|2006}}

The painting's juxtaposition of fully dressed men and a nude woman was controversial, as was its abbreviated, sketch-like handling, an innovation that distinguished Manet from Courbet. One critic stated that the brushwork appeared to have been done with a "floor mop".{{sfn|King|2006}} However, others such as his friend Antonin Proust celebrated the painting, and novelist [[Émile Zola]] was so affected by the experience of viewing it that he later based the title painting in his novel ''[[L'Œuvre]]'' ("The Work of Art") on ''Le Déjeuner sur l'herbe''.{{sfn|Brombert|1996|p=132}}

At the same time, Manet's composition reveals his study of the old masters, as the disposition of the main figures is derived from [[Marcantonio Raimondi]]'s [[engraving]] of the ''[[Judgement of Paris]]'' ({{Circa|1515}}) based on a drawing by [[Raphael]].{{sfn|King|2006}} Two additional works cited by scholars as important precedents for {{Lang|fr|Le Déjeuner sur l'herbe}} are ''[[Pastoral Concert]]'' ({{Circa|1510}}) and ''[[The Tempest (painting)|The Tempest]]'', both of which are attributed variously to Italian [[Renaissance]] masters [[Giorgione]] or [[Titian]].<ref>Paul Hayes Tucker, ''Manet's Le Déjeuner sur l'herbe'', Cambridge University Press, 1998, pp. 12–14. {{ISBN|0521474663}}.</ref>

''Le Déjeuner'' and [[James McNeill Whistler]]'s ''[[Symphony in White, No. 1: The White Girl]]'' were the two most discussed works of the Salon des Refusés, which itself would become one of the most famous art exhibitions of all time.{{sfn|Brombert|1996|p=132}} Following the Salon, Manet became yet more notorious and widely discussed.{{sfn|Courthion|1984|p=60}} However, ''Le Déjeuner sur l'herbe'' and Manet's other paintings still failed to sell, and Manet continued living off of his inheritance from his recently deceased father.{{sfn|King|2006}}