[2][3] The work is an early example of Manet's painterly style, inspired by Frans Hals and Diego Velázquez, and it is a harbinger of his lifelong interest in the subject of leisure.

While the picture was regarded as unfinished by some,[4] the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.

After intervention from the Irish government, the two galleries reached a compromise in 1959, agreeing to share the paintings, with half of the Lane Bequest lent and shown in Dublin every five years.

The strong colourful accents in the bonnets and clothes of the children are painted in almost pure pigments such as cobalt blue, vermilion or chrome orange.

[11] By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level.

[12] The public, accustomed to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished.