In July and August 1874 Manet vacationed at his family’s house in Gennevilliers, just across the Seine from Monet at Argenteuil. The two painters saw each other often that summer, and on a number of occasions they were joined by Renoir. While Manet was painting this picture of Monet with his wife Camille and their son Jean, Monet painted Manet at his easel (location unknown). Renoir, who arrived just as Manet was beginning to work, borrowed paint, brushes, and canvas, positioned himself next to Manet, and painted Madame Monet and Her Son (National Gallery of Art, Washington, D.C.).

Catalogue Entry

The Painting: In the summer of 1874, Edouard Manet was living and working in the suburbs of Paris alongside his younger Impressionist friends. He now embraced their images of leisure painted outdoors in a lighter palette, after his many darker-toned Spanish-influenced paintings of the 1860s and the poor reception of his Olympia and Luncheon on the Grass (both 1863, Musée d’Orsay, Paris). Having gingerly approached sunlit scenes viewed from indoors in the early 1870s (such as Interior at Arcachon [1871, Clark Art Institute, Williamstown]), by the mid-1870s Manet fully adopted both Impressionist subjects and plein-air (outdoor) painting, of which The Monet Family in Their Garden at Argenteuil is a prime example.

The painting was executed in Monet’s garden at Maison Aubry, the house in Argenteuil (at 2, rue Pierre Guienne) that he initially rented in 1871, most likely with the help of Manet who was then living nearby at his family home in Gennevilliers, just across the Seine.[1] The Met’s picture presents Monet, his first wife, Camille, and their six- or seven-year-old son in a moment of leisure. Jean leans lazily against his mother in a periwinkle sailor suit with sporty red shoes and a straw hat, also with a red rim. Monet, himself, painted his son Jean in this same sailor suit and red-rimmed straw hat the year before in his Poppy Field (see fig. 1 above) and with the hat alone in The Artist's House at Argenteuil (1873, Art Institute of Chicago) and The Luncheon: Decorative Panel (ca. 1873, Musée d'Orsay, Paris). Camille looks out to the viewer with her dark eyes shaded by the tulle brim of her white hat and her left fist supporting her chin. (On the appearance of this distinctive hat in four other Manet paintings of the period, see the entry on Manet’s Boating [The Met 29.100.115.) She sits on the grass in a white dress holding a red fan with her right hand so it peeks up above the dress. The reds in these accoutrements and the rooster’s comb echo the red flowers (identified by Tucker [2000] as geraniums) that border the garden. At left, in dark slacks, a bowler hat, and a periwinkle shirt that rhymes visually with his son’s outfit, the bearded Monet tends to these same flowers, a watering can by his side. The rooster, hen, and chick in the left foreground echo the intimate family threesome (Bailey 1997), Monet’s self-described “bonne petite famille” (good little family),[2] and the border of flowers creates a protective cove for both young families.

Manet’s picture is the only known painting of Monet as a gardener. The late nineteenth-century French horticultural boom had hit Monet hard. Part of his impetus in leaving Paris for its suburbs was to have the opportunity to cultivate his own garden, even in a rented home. As Monet pruned and watered his geraniums, Manet tended to his canvas, planting reds and greens here and there, experimenting with a plein-air Impressionist subject of suburban leisure much like those of his friend Monet.

Implementing Impressionist Painting Techniques: Manet’s use of the broken brushwork typically associated with the Impressionists in the areas of Camille’s and Jean’s faces almost breaks any sense of these facial forms’ solidity, just as the loose brushstrokes defining the trees, shrubs, and grass provide an overall impression of the garden without lingering on specific details. The artist incorporated greys, petal pink, and even black into the white of her dress with long visible strokes that heighten the viewer’s sense of the process of picture-making. Camille’s tan shoes are painted so summarily as to be barely identifiable objects, while Monet’s appear hidden in the grass and Jean’s are highly foreshortened. The picture shares much of the same Impressionist painting techniques as Manet’s Boating (The Met 29.100.115), made that summer at Argenteuil. Manet’s stylistic approach in the summer of 1874 has been traced to the influence of his younger colleagues, with whom he was spending much time. Two years earlier, Monet took up the image of a woman reading in the garden, with Camille in the same garden at Argenteuil surrounded by greenery in dappled light rendered with feathery strokes (fig. 2). Carol Armstrong (2002) suggested that Manet was inspired by the facture of his fellow painter, sometime student, and soon-to-be sister-in-law Berthe Morisot as seen in works of 1873 devoted to similar subjects, such as Reading (fig. 3) and Hide and Seek (private collection), the latter of which was shown in the first Impressionist exhibition in spring 1874. Soon after, the Morisot and Manet families spent part of the summer together at Fécamp.[3] At the least, one could find stylistic influences from both Monet and Morisot in the summer of 1874. Richard Brettell (2000) not only remarked on The Met’s painting’s “wonderfully buttery concoction of wet paint,” but he also noted visible evidence that the artist scraped off at least one layer of paint to begin again, finding the action consistent with Charles S. Moffett’s (1983) analysis of Manet’s frequent use of the palette knife to scrape away compositions that displeased him. Brettell’s theory that Manet scraped off an entire layer of paint related to a prior composition and repainted The Met’s picture, though, has not been substantiated.[4]

Working alongside the Impressionists: Paul Tucker (2000, pp. 27–28) noted that Manet rarely worked alongside other artists (unlike Auguste Renoir and Alfred Sisley, for example) and that he generally painted in his studio, but that his pictures from 1874 on broke with both of these tendencies. Tucker summarized Manet’s relationship to the Impressionists in Argenteuil in 1874: “In a dramatic role reversal, Manet was in Argenteuil as a student—at least in terms of plein-air painting, since that had not been a consistent part of his oeuvre in the 1860s.” To make himself comfortable with wholeheartedly embracing plein air painting, he seems to have chosen to view it as the revival of a classical technique; he was known to make fun of Monet, his junior by eight years, saying, “This young man claims he paints en plein air as if the old masters had never dreamed of such a thing.”[5]

In July and August of 1874, Manet visited often with Monet’s family across the Seine. In fact, writer-friend Emile Zola noted in a letter to landscape painter Antoine Guillemet on July 23, 1874, “I do not see anybody, am without any news. Manet, who is painting a study in Argenteuil, at Monet’s, cannot be reached” (Zola 1874, translated in White 1996). On this particular day, while Manet painted the Monet family trio, Monet painted Manet at his easel (1874, location unknown).[6] Renoir arrived on the scene, asked to borrow brushes, paint, and canvas, and proceeded to paint his own version of the scene, Madame Monet and Her Son (fig. 4). Renoir limited his subject to mother and child and a rooster. He painted them from a much closer distance; kept what was probably the original red, white, and blue colors of the French flag on her fan;[7] included hints of yellow flowers among the red ones; and employed even more sketch-like brushwork. His palette is brighter. His rooster, seemingly more inquisitive about Camille and Jean than Manet’s feathered friend, approaches the pair at right rather than left. Tucker (2000) has called Manet’s painting more conservatively rendered than the garden scene by Renoir, noting that the older artist’s spatial construction was the more rational of the two, “employing bands of light and dark to establish a measured recession.”

The tale of the interactions among the three painters that day is the stuff of legend. As retold by Monet to Marc Elder (1924), Manet grimaced while observing Renoir painting and whispered to Monet: “He has no talent at all, that boy! You, who are his friend, tell him to give up painting!”[8] Manet’s statement has been read both seriously and jokingly by art historians throughout the near century-and-a-half since. Though this side-by-side painting campaign invited friendly rivalry between the artists, the relationship of Manet and Renoir was far from strained in this period. Manet, who owned Renoir’s early portrait of Bazille (1867, Musée d’Orsay), obviously liked some of his work. Rewald (1973) explained Manet’s comment as an ex-pression of “irritation at a moment of rivalry before the same subject, for he seems to have been genuinely fond of Renoir . . . . “ While Manet had let it be known that he preferred Renoir’s early work to that of the mid-1870s, it is hard to believe that Manet could have meant his remark to be taken seriously, given his indebtedness to the younger artist’s plein-air style and subjects as well as the camaraderie they built working together that summer. Clearly, Monet, himself took the passing remark as a boyish slight intended in fun, for in retelling it to Elder, he commented: “‘C’est drôle, hein, de la part de Manet?’” (‘This was droll on Manet’s part, wasn’t it?’)

Both Manet and Renoir immediately gave their paintings to Monet. In 1876, when Manet and Monet were in a brief quarrel, Manet asked Monet to return The Met’s picture in an exchange (Elder 1924, Wildenstein 1974, and Mathieu 2017). Manet then sold the painting two years later.

Jane R. Becker 2018

1874年7月和8月，马奈在热讷维耶的家中度假，在阿让特伊莫奈家对面的塞纳河，这两位画家经常在那个夏天互相见面，并且在很多场合他们都邀请了雷诺阿。虽然马奈正在与他的妻子卡米尔和他们的儿子吉恩一起画莫奈的画，莫奈在他的画架上画了马奈（地点不详）。雷诺阿就像马奈开始创作一样来到这里，借用颜料、画笔和帆布，将自己定位在马奈旁边，并画了莫奈夫人和她的儿子（华盛顿国家美术馆）。

绘画： 1874年夏天，爱德华·马奈特与他年轻的印象派朋友一起在巴黎郊区生活和工作。在他19世纪60年代的许多深色调的西班牙风格的画作和他的《奥林匹亚》和《草地上的午餐》（1863年，巴黎奥赛博物馆）的被拒收之后，他现在接受了他们在户外用浅色调绘制的休闲图像。在19世纪70年代早期从室内看到的阳光照射的场景（如阿卡雄内部 [1871，克拉克艺术学院，威廉斯敦]）小心翼翼地接近阳光照射的场景，到19世纪70年代中期，马奈完全采用印象派主题和空气（室外）绘画，其中《马奈一家在阿让特伊的花园里》是一个很好的例子。

这幅画是莫奈的花园，在美美奥布里，在阿让特伊的房子（图2，街皮埃尔Guienne），他最初租住在1871年，最有可能与马奈的帮助，那么谁是居住在附近的他的家在热讷维耶，创作的只是整个塞纳河。[1] 大都会的藏品展示了马奈的第一任妻子卡米尔以及他们六七岁的儿子。Jean穿着一件长着水晶的水手服懒洋洋地靠着他的母亲，穿着运动型红色的鞋子和一顶草帽，还有一条红色的边缘。莫奈本人在前一年在他的罂粟田（见上图1）和戴着帽子的阿灵特伊艺术家（1873年，艺术学院）中，用同样的水手服和红边草帽画了他的儿子吉恩。芝加哥）和午宴：装饰面板（约1873年，巴黎奥赛博物馆）。卡米尔看着观众，她的黑色眼睛被她白帽子的薄薄边缘遮住，左拳支撑着她的下巴。（关于这一时期其他四幅马奈画作中这一独特帽子的外观，请参阅马奈划船上的条目[The Met 29.100.115她坐在草地上，穿着一件白色的连衣裙，右手拿着一个红色的扇子，所以它在衣服上面偷看。这些装备中的红色和公鸡的梳子与花园边界的红色花朵（由Tucker [2000]确定为天竺葵）相呼应。在左边，在深色长裤，圆顶礼帽和长袍衬衫，与他儿子的衣服在视觉上押韵，胡子莫奈倾向于这些相同的花朵，在他身边喷壶。左前景中的公鸡，母鸡和小鸡呼应亲密的家庭三人组（Bailey 1997），莫奈的自我描述的“bonne petite famille”（好小家庭），[2]和鲜花的边界为两者创造了一个保护性的小海湾年轻的家庭。

马奈的画是他作为园丁的唯一已知绘画。十九世纪晚期的法国园艺繁荣对马奈造成了沉重打击。他离开巴黎郊区的部分动力是有机会修建他自己的花园，即使是在租来的房子里也是如此。马奈修剪和浇水他的天竺葵，马奈倾向于他的画布，种植红色和绿色在这里和那里，用实验普莱因空气郊区休闲很像他的朋友莫奈的印象派主题。

实施印象派绘画技巧：马奈使用通常与卡米尔和吉恩面部印象派相关的破碎笔触几乎打破了这些面部形态的坚固感，正如定义树木，灌木和草的松散笔触提供了对花园的整体印象没有遗留在具体细节上。这位艺术家将灰色，花瓣粉红色甚至黑色融入到她的连衣裙的白色中，带有长长的可见笔触，提升了观众对画面制作过程的感觉。卡米尔的棕褐色鞋子被描绘得如此简洁，以至于几乎无法识别的物体，而马奈似乎隐藏在草丛中，而吉恩则被高度缩小。这张照片与马奈的划船有很多相同的印象派绘画技巧（大都会博物馆 29.100.115），那年夏天在阿让特伊创作。马奈在1874年夏天的风格方法可以追溯到他的年轻同事的影响，他与他们一起度过了很多时间。两年前，莫奈采取了一个女人在花园里读书的形象，卡米尔在阿让特伊的同一个花园里，周围绿树成荫，呈现出羽状的笔触（图2）。卡罗尔阿姆斯特朗（Carol Armstrong，2002）认为马奈的灵感来自于他的画家，有时是学生，以及即将成为嫂子的Berthe Morisot，如1873年的作品中所见，致力于类似的主题，如雷丁（图） 3）和捉迷藏（私人收藏），后者在1874年春天的第一次印象派展览中展出。不久之后，Morisot和Manet家庭在Fécamp一起度过了夏天的一部分。[3] 至少，人们可以在1874年夏天找到莫奈和莫里索特的风格影响。理查德·布雷特尔（2000年）不仅评论了大都会的画作“湿润油漆的奇妙涂抹”，而且他还注意到了艺术家的明显证据。刮掉至少一层油漆重新开始，发现这一动作符合Charles S. Moffett（1983）对马奈经常使用调色刀刮去令他不满的成分的分析。布雷特尔的理论认为，Manet刮掉了与先前作品相关的整个油漆层并重新绘制了大都会的图片，但这一理论尚未得到证实。[4]

与印象派一起工作：保罗塔克（2000年，第27-28页）指出，马奈很少与其他艺术家一起工作（例如，不像奥古斯特·雷诺阿和阿尔弗雷德·西斯莱），而且他一般都在他的工作室画画，但他的照片来自1874年打破了这两种趋势。塔克在1874年总结了马奈与阿让特伊印象派的关系：“在一个戏剧性的角色转换中，马奈作为一名学生在阿让特伊 - 至少在plein-air绘画方面，因为那不是他在作品中的一贯部分。 1860年代。“让自己全心全意地拥抱空气在绘画方面，他似乎选择将其视为经典技术的复兴; 众所周知，他嘲笑马奈，他的大三八岁，说：“这个年轻人声称他描绘的是空气，好像老主人从来没有想过这样的事情。”[5]

1874年7月和8月，马奈经常与莫奈的家人一起游览塞纳河。事实上，作家朋友埃米尔佐拉在1874年7月23日给风景画家安托万·吉勒梅特的一封信中指出，“我没有看到任何人，没有任何消息。正在莫奈的阿让特伊（Argenteuil）绘画研究的马奈（Manet）无法到达“（Zola 1874，翻译于White 1996）。在这个特殊的日子里，当马奈画了莫奈家族三人组时，莫奈在他的画架上画了马奈（1874年，地点不详）。[6] 雷诺阿到达现场，要求借用刷子，油漆和帆布，并开始绘制他自己的场景版，莫奈夫人和她的儿子（图4）。雷诺阿将他的主题限制在母亲和孩子以及一只公鸡身上。他从更近的距离画了他们; 在她的粉丝上保留了法国国旗的原始红色，白色和蓝色; [7]在红色的花朵中包含了一些黄色的花朵; 并采用了更多草图般的笔触。他的调色板更亮。他的公鸡，似乎对卡米尔和吉恩比马奈的羽毛朋友更好奇，接近右边而不是左边。Tucker（2000）称马奈的绘画比雷诺阿的花园场景更保守地呈现，并指出老艺术家的空间结构是两者中更合理的，“使用光明和黑暗的条带来建立经济衰退。”

那天三位画家之间相互作用的故事就是传说中的东西。正如马奈对Marc Elder（1924年）所做的那样，马奈在观察雷诺阿的画作时做了个鬼脸，并对莫奈低声道：“他根本没有天赋，那个男孩！你是他的朋友，告诉他放弃绘画！“[8] 马奈的陈述在近一个半世纪以来一直被艺术史学家认真和开玩笑地读过。虽然这种并排的绘画运动邀请了艺术家之间的友好竞争，但马奈和雷诺阿的关系在这一时期远未变得紧张。拥有雷诺阿早期Bazille画像（1867年，奥赛博物馆）的马奈显然喜欢他的一些作品。雷瓦尔德（Rewald，1973）将马奈的评论解释为“在同一主题之前的竞争时刻表现出的愤怒，因为他似乎真的很喜欢雷诺阿。。。。“虽然马奈已经让人们知道他更喜欢雷诺阿的早期作品，而不是19世纪70年代中期的作品，但很难相信马奈可能会认真考虑他的话，因为他对这位年轻艺术家的负债感到高兴。这个夏天，他们在一起工作，他们建立了一个空气风格和主题以及他们的友情。很显然，莫奈本人把这句话作为一个有趣的男孩气概，为了将其重述给长老，他评论道：“'C'estrôle，hein，de la part de Manet？'”（'马奈的一部分，不是吗？'）

马奈和雷诺阿立即将他们的画作交给了莫奈。1876年，当马奈和莫奈发生短暂的争吵时，马奈要求莫奈在交换中返回大都会的藏品（Elder 1924，Wildenstein 1974，以及Mathieu 2017）。两年后马奈卖掉了这幅画。

Jane R. Becker 2018

爱德华·马奈（Édouard Manet，1832-1883），法国19世纪著名画家，19世纪印象主义的领袖和奠基人之一。出生在巴黎一个富有的法官家庭，青年时当过海员，后进入学院派画家库图尔画室学习。1863年在落选者沙龙中展出的《草地上的午餐》一画引起了世所罕见的轰动，不论是题材还是表现方法都与当时占统治地位的学院派原则相悖。1865年展出的另一件作品《奥林匹亚》同样以其离经叛道的艺术形式掀起了一场轩然大波，争论使得马奈名声大振，一批年轻画家聚集在他周围，他们受马奈新颖画风影响，努力探求新的艺术风格与手法，被当时人讽刺为“马奈帮”，这就是后来著名的印象派。马奈以其强烈的绘画敏感性和其典范性的作品，使他所处时代的绘画发生了天翻地覆的变化。

马奈从未参加过印象派的展览，但他深具创新意识的艺术创作态度，却深深影响了莫奈、塞尚、凡高等新兴画家，进而将绘画带入现代主义的道路上。受日本浮世绘及西班牙画风的影响，马奈大胆采用鲜明色彩，舍弃传统绘画的中间色调，将绘画从追求立体空间的传统束缚中解放出来，朝二维的平面创作迈出革命性的一大步。他被认为是印象主义画派的奠基人，很早就被后来的印象派画家们视为大师。

马奈是欧洲艺术史上一位承上启下的重要画家，他对欧洲绘画的发展有突出贡献，他第一个将印象主义的光和色彩带进了人物画，开创了印象主义画风。他的画既有传统绘画坚实的造型，又有印象主义画派明亮、鲜艳、充满光感的色彩。与印象派之排斥黑色不同，马奈十分善于使用黑色的。它像乐队中的定音鼓，使整个画面的色彩响亮醒目而又各得其所。1812年，马奈在巴提约尔街的画室成为青年画家向往和聚会的地方。后来成为印象画派成员的莫奈、德加、雷诺阿等人，经常在此聚会，马奈成为他们心目中的领袖。（阴山工作室根据各大博物馆资料编写）

The Monet Family in Their Garden at Argenteuil

Artist:Édouard Manet (French, Paris 1832–1883 Paris)

Date:1874

Medium:Oil on canvas

Dimensions:24 x 39 1/4 in. (61 x 99.7 cm)

Classification:Paintings

Credit Line:Bequest of Joan Whitney Payson, 1975

Accession Number:1976.201.14

Provenance

Claude Monet, Argenteuil (1874–76; returned to Manet); Édouard Manet, Paris (1876–78; sold for Fr 750 to Toul); [Toul, Paris, from 1878]; Auguste Pellerin, Paris (by 1900–1910; sold to Bernheim-Jeune, Durand-Ruel, and Cassirer); [Bernheim-Jeune and Durand-Ruel, Paris, and Paul Cassirer, Berlin, in shares, 1910; sold by Cassirer on July 13 for 80,850 Marks (approx. Fr 100,000) to Arnhold]; Eduard Arnhold, Berlin (1910–d. 1925); his widow, Johanna Arnhold, née Arnthal, Berlin (1925–d. 1929); their daughter, Mrs. Carl Clewing (Elisabeth, called Else; formerly Mrs. Erich Kuhnheim), Berlin (from 1929); her children, Hugo Eduard Kunheim, Arnold Ernst Kunheim, and Erika Kunheim, Berlin; Alberto Ulrich, Zürich (until 1964; sold on February 19, through the Alfred Daber Gallery, Paris, for $510,000 to Knoedler); [Knoedler, New York, 1964; stock no. A8628; sold on February 20 for $605,000 to Payson]; Joan Whitney Payson, New York and Manhasset (1964–d. 1975)

Paris. Exposition Internationale Universelle. "Exposition Centennale de l'art français (1800–1889)," May–November 1900, no. 451 (as "Portraits en plein air," lent by M. Pellerin).

Munich. Moderne Galerie Heinrich Thannhauser. "Édouard Manet (Aus der Sammlung Pellerin)," 1910, no. 8 [see Rouart and Wildenstein 1975].

Berlin. Paul Cassirer. "Sammlung Pellerin," 1910, no. ? [see Rouart and Wildenstein 1975].

Paris. Bernheim-Jeune. "Trente-cinq tableaux de la collection Pellerin," June 1910, no. 6.

Berlin. Preussische Akademie der Künste. "Fruhjahrausstellung," 1926, no. ? [see Rouart and Wildenstein 1975].

Brussels. Palais des Beaux-Arts. "L'Impressionnisme," June 15–September 29, 1935, no. 33 (lent by Maison Arnhold, Berlin).

New York. M. Knoedler & Co. "Impressionist Treasures from Private Collections in New York," January 12–29, 1966, no. 14 (lent by Mr. and Mrs. Charles S. Payson).

Paris. Galeries Nationales du Grand Palais. "Manet, 1832–1883," April 22–August 1, 1983, no. 141.

New York. The Metropolitan Museum of Art. "Manet, 1832–1883," September 10–November 27, 1983, no. 141.

Baltimore Museum of Art. "Faces of Impressionism: Portraits from American Collections," October 10, 1999–January 30, 2000, no. 36.

Museum of Fine Arts, Houston. "Faces of Impressionism: Portraits from American Collections," March 25–May 7, 2000, no. 36.

Cleveland Museum of Art. "Faces of Impressionism: Portraits from American Collections," May 28–July 30, 2000, no. 36.

Staatsgalerie Stuttgart. "Édouard Manet und die Impressionisten," September 21, 2002–February 9, 2003, no. 40.

Budapest. Szépmüvészeti Múzeum. "Monet et ses amis," December 1, 2003–March 15, 2004, no. 63.

Museum of Fine Arts, Houston. "The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920," February 4–May 6, 2007, no. 61.

Berlin. Neue Nationalgalerie. "Französische Meisterwerke des 19. Jahrhunderts aus dem Metropolitan Museum of Art," June 1–October 7, 2007, unnumbered cat.

Toledo Museum of Art. "Manet: Portraying Life," October 4, 2012–January 1, 2013, no. 25.

London. Royal Academy of Arts. "Manet: Portraying Life," January 26–April 14, 2013, no. 25.

Museum of Fine Arts, Boston. "Homer, Leighton, Manet: Paintings from The Metropolitan Museum of Art," May 25–July 7, 2013, no catalogue.

Cleveland Museum of Art. "Painting the Modern Garden: Monet to Matisse," October 11, 2015–January 5, 2016, no. 10.

New York. The Metropolitan Museum of Art. "Public Parks, Private Gardens: Paris to Provence," March 12–July 29, 2018, unnumbered cat.

Émile Zola. Letter to Antoine Guillemet. July 23, 1874 [published in F. W. J. Hemmings and Robert J. Niess, "Émile Zola, Salons," Paris, 1959, p. 25], mentions that Manet is painting a study in Monet's garden in Argenteuil, possibly this picture [also see Moffett 1983].

Hugo von Tschudi. "Die Jahrhundert-Ausstellung der Französischen Kunst." Die Kunst für Alle 16 (October 15, 1900), pp. 42, 49, ill., discusses it in the text as "'Familie Monets' im Garten" (Monet Family in the Garden) but illustrates it with the caption "Portraits en plein air" (Portraits in plein air).

Vittorio Pica. "La Pittura all'esposizione di Parigi." Emporium 13 (January 1901), ill. p. 43, as "Ritratto in piena luce" (Portrait in plein air).

Théodore Duret. Histoire d'Édouard Manet et de son œuvre. Paris, 1902, pp. 100, 236, no. 176, dates it 1874 and places it in the collection of Auguste Pellerin, Paris.

Hugo v. Tschudi. Édouard Manet. Berlin, 1902, p. 24.

Étienne Moreau-Nélaton. Manuscrit de l'œuvre d'Édouard Manet, peinture et pastels. [1906], unpaginated, no. 186 [Département des Estampes, Bibliothèque Nationale de France, Paris].

George Moore. Reminiscences of the Impressionist Painters. Dublin, 1906 [reprinted in T. A. Gronberg, "Manet, A Retrospective," New York, 1990, pp. 269–70], notes that Monet painted Manet and Mme Manet in the same garden pictured here, and that Monet and Manet exchanged these pictures, but after a quarrel returned them to each other; remarks that he never saw Monet's picture of the Manets.

"L'exode en Allemagne des maîtres de l'impressionnisme." L'art et les artistes 11 (April 1910), p. 45, claims that it was sold from the Pellerin collection for Fr 200,000 and lists the price for Desboutin as Fr 250,000.

G. J. W. "Von Ausstellungen und Sammlungen." Die Kunst für Alle 25 (May 15, 1910), p. 378.

Emil Waldmann. "Édouard Manet in der Sammlung Pellerin." Kunst und Künstler 8 (May 1910), pp. 392, 395, ill.

Werner Weisbach. Impressionismus: Ein Problem der Malerei in der Antike und Neuzeit. Vol. 2, Berlin, 1911, p. 115, ill. opp. p. 114 (color), as in the Arnhold collection, Berlin.

G. J. Wolf. "Édouard Manet." Die Kunst für Alle 26 (January 1, 1911), p. 145, ill.

Jean Laran and Georges Le Bas. Manet. Paris, 1912, p. 71, pl. XXVIII.

Julius Meier-Graefe. Édouard Manet. Munich, 1912, p. 316, pl. 129, states that Arnhold bought it in 1910, along with the "Portrait of Desboutin" (Museu de Arte Moderna, São Paulo).

Carl Gebhardt. "Die Neuerwerbungen Französicher Malerei im Städelschen Kunstinstitut zu Frankfurt am Main." Der Cicerone 4 (October 15, 1912), p. 765, as in the Arnhold collection.

Max Deri. Die Malerei im XIX. Jahrhundert. Berlin, 1920, vol. 1, p. 149; vol. 2, pl. 26.

Ambroise Vollard. Auguste Renoir (1841–1919). 5th ed. Paris, 1920, p. 74, repeats a conversation between himself and Renoir, where Renoir describes how he and Manet painted this subject simultaneously; believes that Manet made his remark concerning Renoir's lack of talent to Monet only after Renoir had left [see Notes].

Emil Waldmann. Édouard Manet. Berlin, 1923, pp. 66–67, ill., mistakenly dates it 1875.

Marc Elder. A Giverny, chez Claude Monet. Paris, 1924, pp. 70–71, repeats a conversation with Monet, who describes how Manet and Renoir came to paint this subject side by side in his garden at Argenteuil, and how Manet, after several glances at Renoir's canvas, came over to whisper to Monet that he should advise his friend to give up painting, as he obviously had no talent; also states that although Manet gave this picture to him, he later took it back in exchange for Monet's "Woman in the Garden" (Musée d'Orsay, Paris).

Ambroise Vollard. Renoir, An Intimate Record. New York, 1925, p. 70.

Marie Dormoy. "La collection Arnhold." L'Amour de l'art 7 (July 1926), pp. 242, 244, ill., erroneously calls it "La famille Manet".

Étienne Moreau-Nélaton. Manet raconté par lui-même. Paris, 1926, vol. 2, pp. 24–25, 40–41, 116, fig. 190.

Karl Scheffler. "Vergleichende Kunstanschauung in der Frühjahrsausstellung der Akademie der Künste." Kunst und Künstler 24 (1926), p. 344.

A. Tabarant. Manet, histoire catalographique. Paris, 1931, p. 270, no. 222.

Gaston Poulain. Bazille et ses amis. Paris, 1932, p. 103 n. 1, states that Manet took this picture back from Monet in 1876 and sold it a week later [but see Ref. Moffett 1983].

Paul Jamot and Georges Wildenstein. Manet. Paris, 1932, vol. 1, pp. 22, 93, 149, no. 245; vol. 2, pl. 357.

"Notes biographiques." L'Amour de l'art 13 (May 1932), p. 147.

Paul Colin. Édouard Manet. Paris, 1932, pl. XLVI, as in the collection of E. Arnhold, Berlin.

René Huyghe. "Manet, peintre." L'Amour de l'art no. 5 (May 1932), p. 184, fig. 79.

A. Tabarant. "Manet (A propos de son centenaire)." Revue de l'art ancien et moderne 61 (1932), p. 23, ill.

Ambroise Vollard. Recollections of a Picture Dealer. London, 1936, p. 169.

Helen Comstock. "The Connoisseur in America: A Child Portrait by Manet." Connoisseur 97 (May 1936), p. 282, erroneously refers to it as "La famille Manet dans le jardin".

Gotthard Jedlicka. Édouard Manet. Zürich, 1941, ill. opp. p. 177.

John Rewald. The History of Impressionism. New York, 1946, pp. 276–77, ill., as whereabouts unknown.

A. Tabarant. Manet et ses œuvres. 4th ed. (1st. ed. 1942). Paris, 1947, pp. 250, 252, 254, 288, 513, 539, no. 233, fig. 233, discusses in detail Manet's alleged remark to Monet, and finds it unlikely to have actually been said.

Michel Florisoone. Manet. Monaco, 1947, p. 64, ill., as in the E. Arnhold collection, Berlin.

George Heard Hamilton. Manet and His Critics. New Haven, 1954, p. 176 n. 3.

Jean Leymarie. Impressionism. Lausanne, 1955, vol. 2, p. 32.

Georges Bataille. Manet: Biographical and Critical Study. New York, 1955, p. 12.

Maurice Sérullaz. Les peintres impressionnistes. Paris, 1959, p. 102, as in a private collection, Berlin.

Theodore Rousseau in "Ninety-fifth Annual Report of the Trustees, for the Fiscal Year 1964–1965." Metropolitan Museum of Art Bulletin 24 (October 1965), p. 58, lists it as an anonymous loan to the department during the fiscal year 1964–65.

Franz Winzinger. "Madame Monet als Modell: Ein unbekanntes Bild von Manet." Die Kunst und das schöne Heim 63 (September 1965), p. 513.

Charles Merrill Mount. Monet, a biography. New York, 1966, pp. 252–53.

F. N. "Durchbruch der Impressionisten." Weltkunst 36 (February 15, 1966), p. 129, ill., repeats with some scepitcism Manet's alleged remark to Monet concerning Renoir's talent.

Stuart Preston. "New York Letter: The Harvest of Time." Apollo 83 (March 1966), p. 223, ill., favors this version of the subject over Renoir's, stating that Manet's "portrayal of Madame Monet has the greater psychological ex-pressiveness".

John Rewald. "How New York Became the Capital of 19th-century Paris." Art News 64 (January 1966), pp. 34, 36, ill. (color).

Sandra Orienti in The Complete Paintings of Manet. New York, 1967, p. 104, no. 198, ill.

Paulette Howard-Johnston. "Une visite à Giverny en 1924." L'Oeil no. 171 (March 1969), pp. 30, 32–33, ill., erroneously gives the owner as Eduard Arnhold.

J. Salomon. "Chez Monet avec Vuillard et Roussel." L'Oeil no. 197 (May 1971), p. 24.

Germain Bazin. Édouard Manet. Milan, 1972, p. 79, ill. [French ed., 1974], erroneously gives the title as "La famiglia Manet in giardino".

John Rewald. The History of Impressionism. 4th rev. ed. New York, 1973, pp. 341–43, ill., as whereabouts unknown; suggests that Manet's remark to Monet concerning Renoir's lack of talent, "if it was actually made, can only reflect Manet's irritation at a moment of rivalry before the same subject, for he seems to have been genuinely fond of Renoir and had heretofore frequently ex-pressed his liking for him".

Daniel Wildenstein. Claude Monet: Biographie et catalogue raisonné. Vol. 1, 1840–1881: Peintures. Lausanne, 1974, p. 150, under no. 67, notes that in 1876 Manet exchanged Monet's "Women in the Garden" (ca. 1866, Musée d'Orsay, Paris) with Monet for the return of a painting by Manet representing Camille Monet in the garden of Argenteuil.

Denis Rouart and Daniel Wildenstein. Édouard Manet, catalogue raisonné. Paris, 1975, vol. 1, pp. 6, 19, 190–91, no. 227, ill.

Anne Distel. Hommage à Claude Monet (1840–1926). Exh. cat., Galeries Nationales du Grand Palais. Paris, 1980, p. 111.

Charles S. Moffett in Manet, 1832–1883. Ed. Françoise Cachin and Charles S. Moffett. Exh. cat., The Metropolitan Museum of Art. New York, 1983, pp. 29, 33, 54, 360–63, 373, no. 141, ill. (color, overall and detail) [French ed., Paris, 1983, pp. 29, 32, 54, 359–63, 373, no. 141, ill. (color, overall and detail)], remarks that Manet provided the hat worn by Mme Monet as a prop, because it belonged to his wife and it appears in several of his works including "Boating" (The Met 29.100.115); comments on the technique.

Pierre Daix. La vie de peintre d'Édouard Manet. Paris, 1983, p. 256, fig. 32.

Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 46–47, ill. (color, overall and detail).

Anne Distel in Renoir. Exh. cat., Hayward Gallery. [London], 1985, pp. 205–6, under no. 30, fig. a [French ed., p. 126, under no. 29, fig. 31], compares it to Renoir's version of the same subject painted at the same time.

Kathleen Adler. Manet. Oxford, 1986, pp. 168–69, fig. 158 (color).

Nicolaas Teeuwisse. Vom Salon zur Secession: Berliner Kunstleben zwischen Tradition und Aufbruch zur Moderne, 1871–1900. Berlin, 1986, pp. 223, 306 n. 527.

Barbara Paul. "Drei Sammlungen französischer impressionister Kunst im kaiserlichen Berlin - Bernstein, Liebermann, Arnhold." Zeitschrift des Deutschen Vereins für Kunstwissenschaft 42 (1988), pp. 21, 23, 29, n. 88, fig. 8 (installation photograph), publishes a photograph of this work hanging in Eduard Arnhold's house in 1920.

Juliet Wilson-Bareau. "L'année impressionniste de Manet: Argenteuil et Venise en 1874." Revue de l'art 86 (1989), p. 34 n. 24.

Josef Kern. Impressionismus im Wilhelminischen Deutschland: Studien zur Kunst- und Kulturgeschichte des Kaiserreichs. PhD diss., Universität Würzburg. Würzburg, 1989, pp. 155, 472–73, includes it in a list of works from the Pellerin collection showing that the consortium of dealers from whom Arnhold purchased it originally wanted two hundred thousand francs for it.

Éric Darragon. Manet. Paris, 1991, pp. 246, 286, colorpl. 169.

Juliet Wilson-Bareau. Manet by Himself, Correspondence & Conversation: Paintings, Pastels, Prints & Drawings. Boston, 1991, p. 311, no. 160, colorpl. 160.

Sarah Carr-Gomm. Manet. London, 1992, pp. 112–13, ill. (color), calls it one of Manet's "least confrontational figure groups".

Margaret Fitzgerald Farr. "Impressionist Portraiture: A Study in Context and Meaning." PhD diss., University of North Carolina at Chapel Hill, 1992, pp. 45–46, pl. 7.

Vivien Perutz. Édouard Manet. Lewisburg, Pa., 1993, p. 162, fig. 177, remarks that in style it is very close to "Swallows" (RW190; Foundation Collection, E. G. Bührle, Zürich), but that in color and shape the figures are more integrated with the landscape.

Kermit Swiler Champa. 'Masterpiece' Studies: Manet, Zola, Van Gogh, and Monet. University Park, Pa., 1994, p. 142, ill. between pp. 17 and 19.

Charles F. Stuckey. Claude Monet, 1840–1926. Exh. cat., Art Institute of Chicago. Chicago, 1995, p. 199.

Albert Kostenevich. Hidden Treasures Revealed: Impressionist Masterpieces and Other Important French Paintings Preserved by the State Hermitage Museum, St. Petersburg. Exh. cat.New York, 1995, p. 144.

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 446, ill., as "The Monet Family in Their Garden at Argenteuil".

Hans Körner. Edouard Manet: Dandy, Flaneur, Maler. Munich, 1996, p. 147, fig. 118.

Alan Krell. Manet and the Painters of Contemporary Life. London, 1996, pp. 129, 131, fig. 120.

Barbara Ehrlich White. Impressionists Side by Side: Their Friendships, Rivalries, and Artistic Exchanges. New York, 1996, p. 72, ill. (color).

Götz Adriani. Renoir. Exh. cat., Kunsthalle Tübingen. Cologne, 1996, pp. 123–24, ill. (color).

Colin B. Bailey in Colin B. Bailey. Renoir's Portraits: Impressions of an Age. Exh. cat., National Gallery of Canada, Ottawa. New Haven, 1997, pp. 57, 130–31, fig. 144, notes that the rooster, hen, and chick wittily underscore the Monet family's relationship and identifies the site as the garden of their rented house, Maison Aubry, at 2, rue Pierre Guienne, Argenteuil.

Important Paintings and Sculpture formerly in the Auguste Pellerin Collection. Christie's, New York. November 8, 1999, p. 7.

John House in Sona Johnston. Faces of Impressionism: Portraits from American Collections. Exh. cat., Baltimore Museum of Art. New York, 1999, pp. 19, 25.

Sona Johnston and Susan Bollendorf in Faces of Impressionism: Portraits from American Collections. Ed. Sona Johnston. Exh. cat., Baltimore Museum of Art. New York, 1999, pp. 110–11, no. 36, ill. (color).

Richard R. Brettell. Impression: Painting Quickly in France, 1860–1890. Exh. cat., National Gallery, London. New Haven, 2000, pp. 87–88, 162, fig. 46 (color), remarks that there is visible evidence that Manet scraped off at least one layer of paint to begin the painting again.

Paul Hayes Tucker. The Impressionists at Argenteuil. Exh. cat., National Gallery of Art. Washington, 2000, p. 96, ill. (color), under no. 21, notes that Manet's presentation of the space is more rational than Renoir's in "Madame Monet and Her Son in Their Garden at Argenteuil" (1874, National Gallery of Art, Washington), using bands of light and dark to display spatial recession, and that it is both larger and "more worked" than Renoir's; calls Manet's the more conservative view; declares the apparent spontaneity of the scene in both artists' views "quite deliberate".

Michael Dorrmann in Die Moderne und ihre Sammler: Französische Kunst in Deutschem Privatbesitz vom Kaiserreich zur Weimarer Republik. Ed. Andrea Pophanken and Felix Billeter. Berlin, 2001, pp. 28–29, 38 n. 35, states that it was among the paintings by Manet and Monet in Arnhold's collection that convincingly portray happy moments of bourgeois leisure time through their play of light and color; notes that the existence of such pictures in his collection contributed to Arnhold's position as a key advocate for Impressionism in Germany.

Jill Berk Jiminez in Dictionary of Artists' Models. Ed. Jill Berk Jiminez and Joanna Banham. London, 2001, pp. 166–68.

Richard Shone. The Janice H. Levin Collection of French Art. Exh. cat., The Metropolitan Museum of Art. New York, 2002, fig. 9.

Carol Armstrong. Manet Manette. New Haven, 2002, p. 213, fig. 102.

Michael Dorrmann. Eduard Arnhold (1849–1925): Eine biographische Studie zu Unternehmer- und Mäzenatentum im Deutschen Kaiserreich. PhD diss., Humboldt-Universität zu Berlin. Berlin, 2002, pp. 128, 130, 136, 140, 347, no. A36, pl. 19 (installation photo), notes that Cassirer sold it to Arnhold on July 13, 1910 for 80,850 Marks (about Fr 100,000).

Manuela B. Mena Marqués in Manet en el Prado. Ed. Manuela B. Mena Marqués. Exh. cat., Museo Nacional del Prado. Madrid, 2003, pp. 121, 296, 420, 478, fig. 140 (color), suggests that this composition was heavily influenced by Manet's early interest in Titian's painting of the Virgin and Saint Catherine (Musée du Louvre, Paris).

Judit Geskó in Monet et ses amis. Ed. Judit Geskó. Exh. cat., Museum of Fine Arts, Budapest. Budapest, 2003, pp. 250–52, no. 63, ill. (color), compares it to Renoir's painting of the same subject in Washington.

Clare A. P. Willsdon. In the Gardens of Impressionism. New York, 2004, pp. 141–42, 144–45, 158, 179, 184, 197, 265 n. 46, p. 282, colorpl. 149, discusses the Royalist attempt to dissolve the French republic in the summer of 1874 and finds political associations in the red, white, and blue of the fan, dress, and sailor suit in this picture; connects the placement of Monet's wife and son on the ground like "roots of a tree" with the Republican writer, Jules Michelet's imagery of trees and the trees of liberty planted during the 1789 and 1848 French revolutions, arguing that this "tightly integrated imagery of family, motherhood, childhood and husbandry, would thus have constituted an unmistakable assertion of modern Republican ideals".

John House in The Painter's Garden: Design, Inspiration, Delight. Ed. Sabine Schulze. Exh. cat., Städel Museum. Frankfurt, 2006, pp. 191, 198 n. 3, fig. 3 (color).

Ross King. The Judgment of Paris: The Revolutionary Decade That Gave the World Impressionism. New York, 2006, pp. 360–61, ill.

John Zarobell in Renoir Landscapes: 1865–1883. Exh. cat., National Gallery. London, 2007, p. 152, fig. 84 (color).

Robert McDonald Parker in Renoir Landscapes: 1865–1883. Exh. cat., National Gallery. London, 2007, p. 274.

Joseph Baillio and Cora Michael in Claude Monet (1840–1926): A Tribute to Daniel Wildenstein and Katia Granoff. Exh. cat., Wildenstein & Co., Inc. New York, 2007, p. 192, fig. 7.

Gary Tinterow in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 89, 232, no. 61, ill. (color and black and white).

Ruth Butler. Hidden in the Shadow of the Master: The Model-Wives of Cézanne, Monet, and Rodin. New Haven, 2008, pp. 170–71, ill., follows Willsdon's (2004) reading of the Republican imagery in the use of the French nation's red, white, and blue colors and adds that the cock included in the picture is a notable Gallic symbol.

Mary Mathews Gedo. Monet and His Muse: Camille Monet in the Artist's Life. Chicago, 2010, pp. 140–43, 148, 254 n. 20, p. 264 nn. 11, 12, fig. 9.3 (color), states that Manet probably determined the poses and costumes for The Met's picture and that he probably worked on it over several sessions, as opposed to Renoir's image of the scene, which probably was completed in a single session; concludes that this longer period of execution would explain Monet's dual presence both in Manet's painting and in the garden somewhere outside of it, painting Manet at his easel (1874, location unknown); notes that the intimate, relaxed poses of mother and child diverge from Monet's own representations of his wife and child.

Anne Distel. Renoir. New York, 2010, p. 113, colorpl. 91.

Laurence Madeline. "C'était l'été 74. Manet face à Monet." 48/14: la revue du Musée d'Orsay no. 31 (Spring 2011), pp. 57–60, fig. 2 (color), discusses the picture as capturing the similar generative qualities of gardening and painting for Monet and in the context of Manet's "vampirization" of Monet's open-air painting techniques that summer.

Janet Whitmore. "Review of Gedo 2010." Nineteenth-Century Art Worldwide 10 (Spring 2011) [http://www.19thc-artworldwide.org/spring11/monet-and-his-muse-camille-monet-in-the-artists-life-mary-mathews-gedo].

MaryAnne Stevens in Manet: Portraying Life. Exh. cat., Toledo Museum of Art. London, 2012, pp. 26, 92, 180, under no. 12, p. 184, under nos. 22, 23, pp. 185, 199, under no. 54, no. 25, ill. pp. 107, 185 (color), compares it to Manet's "In the Garden" (1870, Shelburne Museum, Shelburne, Vt) and "A Game of Croquet" (1873, Städel Museum, Frankfurt); asserts that it was executed en plein air; discusses it in the context of Manet's paintings about the art of painting.

Colin B. Bailey in Manet: Portraying Life. Exh. cat., Toledo Museum of Art. London, 2012, pp. 64–65, discusses the artist's editing of this plein-air painting.

Sarah Lea in Manet: Portraying Life. Exh. cat., Toledo Museum of Art. London, 2012, p. 172.

Stéphane Guégan in Manet: Ritorno a Venezia. Ed. Stéphane Guégan. Exh. cat., Palazzo Ducale. Venice, 2013, p. 83.

Flavio Fergonzi in Manet: Ritorno a Venezia. Ed. Stéphane Guégan. Exh. cat., Palazzo Ducale. Venice, 2013, pp. 211, 220, 254 n. 27, p. 256 n. 76, fig. 75 (illustration from Pica 1901), notes that its illustration in Pica 1901, eighteen years after Manet's death, was the first time a work by Manet was reproduced in Italy.

Willibald Sauerländer. Manet paints Monet: A Summer in Argenteuil. Los Angeles, 2014, pp. 38–39, fig. 24 (color), discusses the "big-city boulevardier" Manet's psychological distance from the happy family trio in "rural paradise".

Colin B. Bailey. "The Floating Studio." New York Review of Books 62 (April 23, 2015), p. 54.

Clare A. P. Willsdon in Painting the Modern Garden: Monet to Matisse. Exh. cat., Cleveland Museum of Art. London, 2015, pp. 32, 83, 85, 315 n. 27, no. 10, ill. p. 97 (color), notes that it is the only known Impressionist painting of Monet as a gardener.

Marianne Mathieu in Marianne Mathieu and Dominique Lobstein. Monet the Collector. Exh. cat., Musée Marmottan Monet. Paris, 2017, pp. 84, 86, 101, fig. 10 (color), notes that it was in 1876 that a piqued Manet requested and received this painting back from Monet in exchange for Monet's own "Women in the Garden" (ca. 1866, Musée d'Orsay, Paris); bases this dating on both Elder 1924 and Wildenstein 1974.

Marianne Mathieu, Dominique Lobstein, and Claire Gooden in Marianne Mathieu and Dominique Lobstein. Monet the Collector. Exh. cat., Musée Marmottan Monet. Paris, 2017, p. 272, ill. (color), as in Manet's collection from 1876 on; incorrectly list the work as no. 45 in the 1900 exhibition.