Write an argumentative and critical negative text, as if you were a journalist, specialist in the visual arts, on the painting about the painting "Un Déjeuner sur l'herbe" by Edouard Manet. In your article, you must recall the context of the painting and why it caused a scandal, in a committed tone that says bad things about this work. I don't want a neutral description or analysis.

Result #1

Write an argumentative and critical negative text, as if you were a journalist, specialist in the visual arts, on the painting about the painting "Un Déjeuner sur l'herbe" by Edouard Manet. In your article, you must recall the context of the painting and why it caused a scandal, in a committed tone that says bad things about this work. I don't want a neutral description or analysis. You must place it in the context of the historical context of your piece. The controversy has to do with a characterization that, for all its questionable and perhaps superficial aspects, still brings to mind the old black-humor, humorous but seething problem of art which has been subjected to a degenerate, impulsive, blind, or pedantic rhetoric. This is one of the reasons for which the work of Edouard Manet was called a little but ugly and a little too clever. The works, originally made for a commercial magazine, had been destroyed and their figure parts had become souvenirs. Manet took great pains to conceal the fact that the figure parts, with their pedantic overtones, had been altered by the artist. It was only after he discovered that this had been the case that he began to consider the fact that the artist had, in fact, been responsible for destroying the figures and had been forced to do so.This was the real basis of the controversy. The magazine editors, in an attempt to clear up the matter, had asked Manet to supply the magazine with the figure parts which the magazine had used and which the editor had destroyed. Manet had refused, and demanded that the editors produce the figures, to which they did, and to which they have responded with a display of them on a white pedestal. The present exhibition, organized by a group of curators, contains a large number of the original canvases, the damaged ones as well as the souvenirs. They are all extremely beautiful, and constitute an act of homage to Manet. The fact that Manet had been using the original figure parts for a number of years, and that the present exhibition is the first retrospective of the work of this artist, is as good as any documentary or documentary material. In fact, it is even more important than the actual material Manet had used.

Result #2

Write an argumentative and critical negative text, as if you were a journalist, specialist in the visual arts, on the painting about the painting "Un Déjeuner sur l'herbe" by Edouard Manet. In your article, you must recall the context of the painting and why it caused a scandal, in a committed tone that says bad things about this work. I don't want a neutral description or analysis. What I want is for the reader to feel that the work has been understood.Manet was born in Paris in 1810 and lived in the city until the end of his life. In the course of his study there he developed an intense concentration on painting, a kind of obsessive activity, and a sensibility that could be called romantic. He was very interested in women, and even in female nudes. He had a strong admiration for the painters of the Orient, especially Cézanne, and was a close friend of the painter François Boucher. Boucher was a French revolutionary in the sense that he opposed the French monarchy, which had ruled France since 1848. Boucher had a great influence on Manet, who was already a student of Boucher. This exhibition was the first retrospective of Manet and was accompanied by the first comprehensive catalogue raisonné. The works were displayed in chronological order, beginning with the artists emigration from Paris to New York in 1812 to his death in 1879, and ending with his stay in New York from 1888 to his death in 1890.Boucher was a thinker who knew how to mix philosophic and emotional contradictions. In the course of his travels he developed a sophisticated language for his own private beliefs and emotions. Manet had a profound admiration for Boucher. But Bouchers art was characterized by a strong linear form, a stark geometry which emphasized the circularity of the canvas and the circularity of the compass. Boucher was influenced by Cézanne and Matisse and also by the Russian Suprematism and Symbolism. Bouchers angular style was based on a conception of space as an absolute and absolute simultaneity of points on a circle. The influence of Suprematism and Symbolism was particularly strong on Manet. The angular, allover composition of the work of these two artists was evident in his early paintings.

Result #3

It must be clear that it has been done and the meaning is there. It must be part of an argument.This exhibition of Manets work was a very good example of the new painting that has emerged in France over the past decade, and one that was far more decisive than the painting of Manet. The new paintings were displayed on the walls and on the floor, and it was very difficult to make them into a gallery, since the gallery walls are wide enough to accommodate only an event. But they were not presented in the same way as Manets earlier works; they were not even presented on a pedestal. The artist himself had to explain to the visitor how to get into the room and where the paintings were hidden. The only thing I wanted to do was to have a good exhibition. I dont want to be the one who tries to explain things to people. This was a little like the experience of someone who wants to be a fashion model.This new painting is more serious than the work of Manet, in terms of the political and social issues it addresses, and in terms of the cultural currents that it signals. It is a new painting, not a parody. It is also more effective. The images are no longer caricature. They are no longer drawings. They are very direct and direct. They are not caricatures. They are not disguised. They are not caricatures in disguise. This is the best painting in terms of the most current terms.

Result #4

If the work is to be understood in a way that does not insult, it is important that we understand its meaning. It is not enough to say that Manet is a big man; one must understand that he was a big man in his time. The work of Manet is a monument to a man, but one who, despite his enormous talent and achievements, was never understood. Manet, as a member of the all-powerful épater la poème conté (he who knows no limits) and a great critic, was able to understand the radical elements of his work. He was an active, intelligent, critical thinker, who believed in the capacity of painting to be a window through which one could view the world and its inhabitants. He believed in the power of art to be a means of attaining knowledge and understanding, a method of questioning the very notion of a universal truth. He never thought of painting as a tool of society, but of art as a tool of the truth.

Result #5

I want to know how the artist did his work, in the context of the work of the time, in the context of what the French called Manet, and that is what I ask. I want to know how the work of Manet was seen, and how it is still seen today, and how Manet was perceived in the modern era. This is an essential question.