defiant painting. Manet was cheekily reworking Raphael, turning a mythological scene from one of the most celebrated engravings of the Renaissance into a tableau of somewhat vulgar Parisian holidaymakers. Scholars also cite two works as important precedents for Manet's painting Le Déjeuner sur l'herbe: The Pastoral Concert by Giorgione or possibly Titian (in the Louvre) and Giorgione's The Tempest, both of which are famous Renaissance paintings. The Tempest, which also features a fully dressed man and a nude woman in a rural setting, offers an important precedent for Manet's painting Le Déjeuner sur l'herbe. Pastoral Concert even more closely resembles Le Déjeuner sur l'herbe, as it features two dressed men seated in a rural setting, with two undressed women. Pastoral Concert is in the collection of the Louvre in Paris and is likely, therefore, to have been studied by Manet. According to Antonin Proust, he and Manet had been lounging by the Seine as they spotted a woman bathing in the river. This prompted Manet to say, "I copied Giorgione's women, the women with musicians. It's black that painting. The ground has come through. I want to redo it and do it with a transparent atmosphere with people like those we see over there." There may be a connection between Le Déjeuner sur l'herbe and the work of Jean Antoine Watteau. Manet's original title, Le Bain, initially drew the main attention to the woman near the water. This bathing figure alone is quite similar to the figure in Watteau's La Villageoise, as both women crouch or lean over near water, simultaneously holding up their skirts. It is possible that Manet adapted this pose, which is more clearly seen in a sketch of his, years before his creation of Le Déjeuner sur l'herbe. Criticism There were many mixed reviews and responses to Le Déjeuner sur l'herbe when it was first displayed and it continues to yield a variety of responses. The initial response was characterized by its blunt rejection from the Paris Salon and subsequent display in the Salon des Refusés. Though many critiques were rooted in confusion about the piece, they were not always completely negative. Odilon Redon, for example, did not like it. There is a discussion of it, from this point of view, in Proust's Remembrance of Things Past. Le Capitaine Pompilius, a contributor for Le Petit Journal, thought the characteristically "male" colors of the piece brought the