Thirty-five contemporary artists create their own version of Le Déjeuner sur l’herbe.
Édouard Manet’s Le Déjeuner sur l’herbe (1863) is generally cited as the first modern painting. The entry slide in art history lectures about modernism, the work remains among the “most audacious painting[s] ever seen in France,” as Ross King described it in The Judgement of Paris (2006).
As Manet did with Le Déjeuner sur l’herbe, the most provocative painters today collapse the historical and the contemporary onto one plane. Jeffrey Deitch invited a group of these influential artists to create their own versions, combined here with historical responses to Manet’s painting. The slim volume features these often biting and satirical works alongside essays discussing Le Déjeuner sur l’herbe’s enduring influence on contemporary figurative painting.
"In celebration of Edouard Manet's seminal 1863 painting, the famed gallerist and provocateur Jeffrey Deitch enlists modern art stars to create their own versions (sly, worshipful, satirical) of the work." — NEW YORK TIMES
Thirty-five contemporary artists create their own version of Le Déjeuner sur l’herbe.
Édouard Manet’s Le Déjeuner sur l’herbe (1863) is generally cited as the first modern painting. The entry slide in art history lectures about modernism, the work remains among the “most audacious painting[s] ever seen in France,” as Ross King described it in The Judgement of Paris (2006).
As Manet did with Le Déjeuner sur l’herbe, the most provocative painters today collapse the historical and the contemporary onto one plane. Jeffrey Deitch invited a group of these influential artists to create their own versions, combined here with historical responses to Manet’s painting. The slim volume features these often biting and satirical works alongside essays discussing Le Déjeuner sur l’herbe’s enduring influence on contemporary figurative painting.
Praise
"In celebration of Edouard Manet's seminal 1863 painting, the famed gallerist and provocateur Jeffrey Deitch enlists modern art stars to create their own versions (sly, worshipful, satirical) of the work." — NEW YORK TIMES
