Nana, 1877, is an example of one of Manet's later works which follows Olympia and Le Dejuner sur l'herb. This painting is somewhat less shocking then its predecessors because the courtisan is clothed. Still she remains similar to the other two paintings in her defiant stare and prominence in the painting. The fact that her male caller is such an unimportant part of the composition did cause a stir. For a man to play such a minor role to woman, a courtesan no less, in the same painting was not usually done.

The painting was probably named after Emile Zola's fictional heroine of L'Assommir and Nana.