all the particular and rare elements which are in him.Émile Zola, Édouard Manet, 1867, link to English translation Zola presents a fictionalised version of the painting and the controversy surrounding it in his 1886 novel L'Œuvre (The Masterpiece). Inspired works In L'Oeuvre, Émile Zola's 1886 novel about a painter, a work by his main character, Claude Lantier, exhibited in a fictional salon des refusés, resembles Manet's painting. Claude Monet's own version of Le Déjeuner sur l'herbe from 1865–1866, was inspired by Manet's painting. French painter James Tissot, painted La Partie Carrée, in 1870; arguably a tamer version without the nudity of Le Déjeuner sur l'herbe. Paul Cézanne painted the same theme in his Le Déjeuner sur l'herbe (1876–1877), Musée de l'Orangerie, Paris. It is not certain, however, that Cézanne was responsible for the title of the work, but it does incorporate many of the same elements of subject in the piece. For example, Cézanne's clothed female subject poses similarly to the model of Manet in which her chin rests in her hand. The male figure, meant to resemble the painter himself, mimics the hand gesture of the man furthest right in Manet's piece. The composition of Cézanne's painting also bears resemblance to Bacchanal (between 1627 and 1628), by Nicolas Poussin, whose works in the Louvre were periodically copied by Cézanne. It is possible that Cézanne's Déjeuner represents nothing more than the joyful memories of outings in the countryside around Aix-en-Provence, known especially from the testimony of a childhood friend of the painter, Émile Zola. Manet's painting inspired Picasso as he completed the largest concentration of art prompted by a single work during the 20th century, consisting of 27 paintings, 140 drawings, 3 linogravures and cardboard marquettes for sculpture carried out between 1949 and 1962. Picasso also adopted some of Manet's techniques involving exploitation of the nude in the foreground as evident in his work Les Demoiselles d'Avignon, 1907. Paul Gauguin may have been inspired by this piece in creating his 1896 work Where do we come from? Who are we? Where are we going?, as there is a similarity of Manet's depiction of the nude woman and Gauguin's Tahitian woman. Max Ernst painted a parody version of this piece named Le Déjeuner sur l'Herbre in 1944. He inverts the painting, replaces the nude woman with a fish, and adds an 'r' to the title for comedic effect. The painting inspired