Whilst Manet’s work had caused a scandal in Paris in 1865 with its raw realism, Valaine de Ranson’s version offers a more intimate interpretation. Whereas Manet used sharp outlines, Valaine favours a generous, textured brushstroke. This approach is typical of contemporary Neo-Folklorism.

• A game of gazes? Unlike the original *Olympia*, which stared defiantly at the viewer, Valaine’s figures seem to inhabit a space of sisterhood.
• The painterly quality? In the same way, the brushwork creates an abstract background, transforming the bedroom setting into pure painting.
• The symbolism of the flowers? Thus, the bouquet, the central element, is no longer merely a gift from an unseen admirer, but a bridge between the two women.

As we have just seen, Valaine de Ranson’s work is by no means merely about ‘copying’. She reinterprets. In this way, she pays homage to tradition whilst affirming a modernity specific to French-speaking Switzerland. As such, this work is the perfect example of our current theme: using the roots of the past to bring the art of tomorrow to life. This means that painting after a master is not about imitating the past, but about ensuring that the flame of creation is still alive.