與鳥瞰巴黎杜樂麗花園的創作為同年作品，這幅田園詩般的場景位於畢沙羅在伊拉格尼鄉村住宅附近的草地，與他現代城市生活畫作形成鮮明對比。畢沙羅描繪了同樣的三垛乾草堆，從不同的角度觀察，並且創作時段在下午而非早晨(私人收藏)，種種設計不禁令人回想起莫內於1890年代初期的乾草堆系列。

Made the same year as Pissarro’s bird’s-eye views of the Jardin des Tuileries in Paris, this idyllic scene of a meadow near the artist’s home in rural Éragny is a counterpoint to his paintings of modern urban life. Pissarro depicted the same trio of haystacks, seen from a slightly different vantage point, and under afternoon rather than morning light (private collection), a practice recalling Monet’s Haystacks series of the early 1890s.

布丹對光精湛的描繪技法(例如 1865年這張照片中的日落)，深刻地影響了年輕時期的莫內，兩位畫家也曾於諾曼地海岸一起作畫。

Boudin's masterful and convincing representation of light effects, such as the sunset in this picture of 1865, profoundly influenced the young Claude Monet. The two artists worked together on the Normandy coast the previous summer.

描繪法國北部河流和僻徑的多幅創作使索洛聲名大噪。此幅畫展示了位於索姆河畔亞眠附近的皮基尼村莊，同時也是這位挪威畫家於1899年深秋歷經數週的工作地點。構圖採用向下的制高點觀察，強調渦流及其不斷變化的顏色、反射、和光照。此次短途旅行是索洛充滿抱負的行程中的一部分，其餘包括與好友莫內一起參加夏季展覽、到威尼斯的長途旅行、並且索洛於1900年擔任巴黎世界博覽會中的挪威專員。

Thaulow earned great success with his depictions of the rivers and byways of northern France. This canvas shows the village of Picquigny, near Amiens on the river Somme, where the Norwegian painter worked for several weeks in the late autumn of 1899. The composition adopts a downward vantage point that emphasizes the eddying water and its ever-changing colors, reflections, and illumination. Thaulow’s excursion was part of a characteristically ambitious professional schedule, including a summer exhibition with his friend Monet, an extended trip to Venice, and serving as Norway’s commissioner at the 1900 World’s Fair, held in his adopted hometown of Paris.

1894 年夏天，西斯萊在他的朋友弗朗索瓦·德波(同時也是贊助人)，位於勒梅尼勒埃納爾的莊園裡度過 。 在那裡，西斯萊畫了七幅山坡和鄰近薩赫斯草地的景色。德波最終買了五幅圖，包括現在展示的作品。

Sisley spent the summer of 1894 in Le Mesnil-Esnard at the estate of his friend and patron, François Depeaux, a wealthy Norman industrialist. While there, Sisley painted seven views of the Coteaux de la Bouille and the Sahurs meadows adjacent to Rouen. Depeaux bought five of the pictures, including the present work.

馬奈稱靜物為「畫家的試金石」。 從 1862 年到 1870 年，他創作了幾個大型的桌面靜物畫(主題包含魚與水果)，這幅畫是最後一個也是最精細的。 創作靈感來自十八世紀法國靜物大師讓．西蒙．夏爾丹向盧浮宮捐贈的奶油蛋捲畫。 和夏爾丹一樣，馬奈在奶油麵包周圍擺放著一張亮麗的白色餐巾紙、桃子、李子、一把磨光的刀、一個鮮紅色的盒子，並且在奶油蛋捲上放上芬芳的花朵。

Manet reportedly called still life the "touchstone of the painter." From 1862 to 1870 he executed several large-scale tabletop scenes of fish and fruit, of which this is the last and most elaborate. It was inspired by the donation to the Louvre of a painting of a brioche by Jean Siméon Chardin, the eighteenth-century French master of still life. Like Chardin, Manet surrounded the buttery bread with things to stimulate the senses—a brilliant white napkin, soft peaches, glistening plums, a polished knife, a bright red box—and, in traditional fashion, topped the brioche with a fragrant flower.

標準款內建/大都會(open data)