1960 Le dВjeuner sur lherbe (Manet) 6 Pablo Picasso (1881-1973) Period of creation: 1943-1961

The composition presents a scene unfolding within what appears to be a densely wooded area. A group of figures is arranged across the foreground, their interactions and relationships immediately drawing attention. The palette is dominated by cool tones – greens, blues, and grays – which contribute to an atmosphere that feels both tranquil and somewhat unsettling.
Here we see three men seated on the ground, seemingly engaged in a leisurely gathering. Their postures are relaxed, yet theres a certain stiffness in their rendering that prevents them from appearing entirely naturalistic. One man, positioned centrally, is dressed in formal attire – a dark suit and tie – which contrasts with the more casual appearance of the others. To his left sits a figure whose gaze appears directed outward, beyond the immediate group. The third man, on the far left, leans back against a tree trunk, his expression unreadable.
Standing before them is a woman, her pose both provocative and detached. She confronts the viewer directly with an almost challenging stare. Her nudity is presented without explicit sensuality; rather, it seems intended to disrupt conventional notions of propriety and decorum. The artist depicted her skin in pale tones, contrasting sharply against the darker foliage behind her.
The background is rendered as a thicket of trees, their forms simplified and flattened, creating a sense of depth but also contributing to the overall ambiguity of the scene. Scattered across the ground are various objects – fruit, clothing, and what appears to be a discarded garment – which further complicate the narrative.
Subtexts within this work revolve around themes of social convention, artistic license, and the gaze itself. The juxtaposition of the formally dressed man with the nude woman suggests a commentary on class distinctions and societal expectations. The directness of the female figure’s stare challenges the viewer to confront their own voyeuristic tendencies. The overall effect is one of deliberate provocation, inviting contemplation about the boundaries between art and reality, propriety and transgression. The painting seems to question established norms regarding representation and the role of the artist in challenging those norms.