1960 Le dВjenuer sur lherbe (Manet) 1 Pablo Picasso (1881-1973) Period of creation: 1943-1961

The composition presents a group of figures gathered in what appears to be a wooded area, rendered with a deliberate flattening of perspective and simplification of form characteristic of early modern artistic approaches. The scene unfolds across a shallow space; depth is suggested more through the layering of forms than through traditional techniques of linear recession.
A nude female figure occupies the foreground, seated on the ground. Her pose is passive, almost languid, her gaze directed towards an unseen point beyond the frame. Beside her sits a second figure, partially obscured and rendered with minimal detail, suggesting a secondary role within the narrative. Further back, a group of three figures are arranged around what seems to be a table or makeshift platform. One individual, dressed in formal attire – a dark suit and top hat – holds a cane, his posture conveying an air of authority or perhaps awkwardness. The other two figures are less distinct, their features simplified and their roles ambiguous.
The color palette is dominated by greens and blues, contributing to the overall sense of tranquility and enclosure. However, this serenity is disrupted by the presence of jarring elements: a single, oversized eye rests on the ground near the seated female figure, its placement both unexpected and unsettling. This detail introduces an element of surrealism, suggesting a disruption of reality or perhaps a commentary on observation itself.
The artist’s handling of form is notable for its angularity and lack of smooth transitions. Bodies are depicted as planes rather than volumes, contributing to the overall sense of fragmentation. The trees in the background are rendered with broad strokes, their forms simplified into abstract shapes. This stylistic choice reinforces the paintings departure from naturalistic representation.
Subtly, a tension exists between the idyllic setting and the unsettling details. The formal attire of one figure contrasts sharply with the nudity of the female figure, hinting at social hierarchies or perhaps a critique of societal conventions. The oversized eye introduces an element of voyeurism, prompting questions about the act of looking and being looked upon. Overall, the work seems to explore themes of perception, representation, and the complexities of human interaction within a stylized and somewhat disquieting environment.