He was in love with a courtesan, a woman named Marie Duplessis, about whom he would go to write a very popular novel, and then a play based on his experience with her called "La Dame aux Camélias", (1848). Men of this time, as stated by Dumas, were born with the need for sexual promiscuity; women were not. He made many claims scorning women of the night. Charles Baudelaire believed that in many ways the poet resembled a prostitute because they sold their poetry, a part of themselves; to sell their works they were selling themselves. Essentially, the city of Paris revolved around a form of prostitution, consumerism. He believed that no one understood this more than the "flâneur" (an idler or lounger). Baudelaire claimed that prostitution was embedded in Paris and everything involved with it. On two occasions, Manet painted works which focused on prostitutes and caused great scandal when exhibited. According to T.J. Clark, during this time period, the issue of prostitution was brought into the center of society whereas in the past, it had been pushed to the outskirts. The divisions between the outskirts of society and what was acknowledged and accepted were not as clear as they had been. Édouard Manet's (1832-1883) "Olympia" (1863) attracted negative criticism unlike any other painting had before. Jean Ravenel's described the work as a   The journalist Bonnin wrote the following in "La France" :"We prefer to think he [Manet] has made a mistake. And what is his aim? His canvases are too unfinished for us possibly to tell". The work was considered unfinished, like a sketch rather than a real painting.“Olympia” was the name preferred by prostitutes because it referred to La Dona Olympia, the main character of a book by Etienne Delécluze. As Clark notes, the work was found offensive because some people thought she was not a courtesan but a working class prostitute, making her class and place in society definitive and less of an abstract, floating idea. People also did not like this painting because of the lack of skill it seemingly portrayed on Manet's part. They objected particularly to the black outlines and yellowish skin tone present in the painting. Most art historians agree that Manet was challenging the romantic ideals of female nudity and prostitution that were previously held in society. By giving Olympia a completely disinterested expression on her face, the fact that prostitution is a job, unromantic and unenjoyable, for her, is emphasized.