"Manet... may not have esteemed the efforts of Cézanne and Renoir, but Monet was a different matter. Seven years earlier he had disdained [Monet's] The Garden of the Princess... Slowly, however, he had come to accept—largely on the evidence of Monet's canvases—that... [w]hat Baudelaire called "modernity" could be captured in situ. He had painted en plein air... [b]ut he seems to have come to the basin in the summer of 1874 with the express aim of abandoning... the "false shadows" of the studio in favor of joining Monet in the "true light" of the outdoors. For the first time... Manet tried to catch the effects of natural light... and, following Monet's lead, replaced the somber colors and sharp contrasts... with a lighter palette of blues, yellows and ochers, which he added... in strokes of pure, unmixed color. He even painted, as a kind of tribute, Claude Monet and his Wife on his Floating Studio... The lighter tones and saturated colors of both Boating and Argenteuil show how Manet had... stepped resolutely into the sunshine. ...Visiting Monet's house ...one afternoon, he began painting The Monet Family in their Garden at Argenteuil. ...Monet ceased gardening at some point ...and began working on Manet Painting in Monet's Garden... Hardly had he begun painting than Renoir arrived... borrowed paints and a canvas from Monet and started... Monet and her Son... The day ended with Manet and Renoir making gifts of their paintings to Monet."