Abstract
The article is a study of the manner in which Manet uses a fragment from Marcantonio Raimondi's drawing The Judgement of Paris. This manoeuvre has the hallmarks of a citation by means of which the painter stresses the fact that the work, which from the 16th c. served as an academic standard, in his own painting plays the part of an intruder; that it is only a drawing and not a real scene. The particular character of this relationship, until recently considered mainly in terms of dualism, i.e. tradition - modernite, confirms the latest opinion, frequently occurring in literature, that today Le Dejeuner sur l'herbe and La Peche as a pair based on the relationship opposition - complementairite.
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