In June, Picasso took a serious approach once more. Each takes up his role again in the variation dated the 17th. At the beginning of July, he engraved several plates with the "Conversationalist" duly clothed. But then, Picasso revolutionised this little world by undressing everyone. In this way, Picasso offers a response to the strangeness of Manet's painting, to the confrontation of a naked woman and clothed men. He seems also to have looked at Cézanne's view of Manet
Having interpreted Manet's painting, Cézanne undertook many experiments where naked men and women bathed together. The second man, whom Picasso paints, stretched out on the grass with a book in his hand, is truly Cézannian. The naturist and Cézannian interlude ended on 16th July 1961, with a painting in which Victorine, immoderately stretched out, huge in size, is leaning towards the big "Conversationalist" like a praying mantis.
Although he took little interest in the landscape, it had not escaped Picasso's notice that, when it came to the great natural setting that Zola had seen in Manet's painting, Manet had in fact painted only a theatre set. And, as if wanting to take Manet's aborted intentions to their conclusion, Picasso takes the characters back into the true nature. Between 26th and 31st August 1962, Picasso produced a series of models of the characters in Lunch on the Grass.
The cardboard figures were designed and folded, and Picasso could place and move each one of them Lunch on the Grass is a game for swingers, it is a relaxed, happy "foursome". The models were photographed in the order that Manet had chosen. Picasso placed a postcard of Manet's painting alongside them as a reminder of the origin of his composition. To emphasise the natural setting, he made pencil drawings of the trees which would surround the concrete swimmers. It was Carl Nesjar who produced these models, which in 1966 were placed in the grounds of the Moderna Museet in Stockholm.