References analysis of the Wikipedia article "The Magpie (Monet)" in the English version

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Mathey 1961, p. 59: "...Jongkind discovered how the so-called "local color" changes with the seasons...It suddenly came to him that for the artist appearance, not reality, was the determining factor...the only thing that did matter was the atmospheric condition at a given moment. He shared this revelation with Monet, who, in turn, experimented by making two paintings of a road in Normandy from the same vantage point—the first one under a cloudy sky, and the second when the road was covered with snow." Mathey, François (1961). "The Impressionists". Jean Steinberg (translator). Frederick A. Praeger. OCLC 812292.

Heinrich 2000, p. 9. Heinrich, Christoph (2000). Claude Monet, 1840-1926. Taschen. ISBN 978-3-8228-5972-8.

Musée d'Orsay Archived 2014-10-06 at the Wayback Machine: "With this choice of theme, Monet was following in the footsteps of Courbet who had tackled snowscapes in a number of genre scenes. But unlike the older painter, whose principal motif remained the stag and the hunter and who produced many anecdotal scenes, Monet painted an almost deserted landscape, where the cart and its occupant play a very minor role." The painting was originally dated 1865 by Monet. However, correspondence by painter Alexandre Dubourg points to a later date of 1867. In Moffett 1999, p. 80, Eliza Rathbone notes that the date is disputed by scholars. Moffett, Charles S. (1999). Impressionists in Winter: Effets de Neige. Phillips Collection. ISBN 0-85667-495-8.

House 1988, p. 137 Published in October 1868, but the anecdote is thought to refer to the previous winter. House, John (1988). Monet: Nature Into Art. Yale University Press. ISBN 0-300-04361-9.

Laclotte, Michel (1986). Painting in the Musée d'Orsay. Scala Publications. ISBN 0-935748-72-5. See also footnote 14 as cited in Herbert 1996, p. 138.

Moffett 1999, p. 13: "Visitor surveys and sales of postcard and reproductions indicate that it is the most popular single image in the museum"; Also see Sweeney 1999, p. 26 Moffett, Charles S. (1999). Impressionists in Winter: Effets de Neige. Phillips Collection. ISBN 0-85667-495-8. Sweeney, Jim (Jan–Feb 1999). "The Impressionists Paint Winter: A Special Effect". Weatherwise. 52 (1). Taylor & Francis Group: 22. doi:10.1080/00431679909604257. ISSN 0043-1672.

Katherine Rothkopf in Moffett 1999, p. 84; Mathieu 1987, p. 78: "In the absence of any human figure, the central feature of the painting is the black bird perched on the gate, which is filled with an almost magical significance". Moffett, Charles S. (1999). Impressionists in Winter: Effets de Neige. Phillips Collection. ISBN 0-85667-495-8. Mathieu, Caroline (1987). Guide to the Musée d'Orsay. Paris: Ministère de la Culture et de la Communication. ISBN 978-2-7118-2123-5.

Orr 1994, p. 18: "...qualities of light characteristic of different times of day and in different atmospheric conditions." Orr, Lynn Federle (1994). Monet: An Introduction Monet: Late Paintings of Giverny from the Musée Marmottan. New Orleans Museum of Art. ISBN 0-8109-2610-5.

Orr 1994, p. 18. Orr, Lynn Federle (1994). Monet: An Introduction Monet: Late Paintings of Giverny from the Musée Marmottan. New Orleans Museum of Art. ISBN 0-8109-2610-5.

Hardin 1988, pp. 50–51; Schlichting 1999, pp. 5–6; Moffett 1999, p. 17 Hardin, C. L. (1988). Color for Philosophers: Unweaving the Rainbow. Hackett Publishing. ISBN 0-87220-039-6. Schlichting, H. Joachim (1999). "Physics and Art" (PDF). Proceedings of '99 International Conference of Physics Teachers & Educators. Guangxi Normal University Press. Moffett, Charles S. (1999). Impressionists in Winter: Effets de Neige. Phillips Collection. ISBN 0-85667-495-8.

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Rathbone 1999, p. 22; Sweeney 1999, pp. 23–27; For the range of 63 major works produced from 1867–1893, see Moffett et al. 1999. This arbitrary time period was established for the first Impressionists in Winter: Effets de Neige exhibition, based on historical reports of severe winters collected by curators. Rathbone, Eliza E. (1999). "Snowy Landscapes". Southwest Art. 28 (10). ISSN 0192-4214. (subscription required) Sweeney, Jim (Jan–Feb 1999). "The Impressionists Paint Winter: A Special Effect". Weatherwise. 52 (1). Taylor & Francis Group: 22. doi:10.1080/00431679909604257. ISSN 0043-1672.

Myers 1998: "...his largest winter painting..."; Sweeney 1999, p. 26: "It is Monet's largest and most ambitious snowscape, an essay about light and shadow on snow." Sweeney, Jim (Jan–Feb 1999). "The Impressionists Paint Winter: A Special Effect". Weatherwise. 52 (1). Taylor & Francis Group: 22. doi:10.1080/00431679909604257. ISSN 0043-1672.

Howard 1989, Monet, p. 33 as quoted in Meynell 1993. Meynell, Hugo A. (1993). "The Good of Art". Arts Education Policy Review. 95 (2). Routledge: 13–19. doi:10.1080/10632913.1993.9936367.

Roque 1996, pp. 26–39. For more information about Ogden Rood and the Impressionists, see: Kemp, Martin (2008). "The Impressionists' Bible". Nature 453.7191. p. 37. Roque, Georges (1996). "Chevreul and Impressionism: A reappraisal". Art Bulletin. 78 (1): 26–39. doi:10.2307/3046155. ISSN 0004-3079. JSTOR 3046155.

Meyers 2011, p. 75. Meyers, Jeffrey (2011). "Cloud of unknowing". New Criterion. 29 (6): 73–75. Bibcode:1961Natur.189..610A. doi:10.1038/189610b0. ISSN 0734-0222.

jstor.org

Coe 1957, p. 382. Coe, Ralph (1957). "Claude Monet in Edinburgh and London". The Burlington Magazine. 99 (656): 382–383, 385. JSTOR 872333.

musee-orsay.fr

"Musée d'Orsay: Notice d'Oeuvre". 2006. Archived from the original on 2012-10-20. Retrieved 2011-06-05. 1984, acquis par les musées nationaux pour le musée d'Orsay (comité du 08/11/1984, conseil du 14/11/1984, arrêté du 14/12/1984)

questia.com

Arts Council of Great Britain 1957, p. 43: "Perhaps Monet's greatest snow landscape."; Rouart 1958, p. 41: "This, Monet's finest snowscape..."; Gedo 2010, p. 89: "...one of the most magnificent snow scenes in his entire oeuvre..." Rouart, Denis (1958). Claude Monet. The Taste of Our Time, 25. James Emmons (translator), León Dégand (introduction and conclusion). New York: Albert Skira. OCLC 518538. (subscription required) Gedo, Mary Mathews (2010). Monet and His Muse: Camille Monet in the Artist's Life. University of Chicago Press. ISBN 978-0-226-28480-4.

Rouart 1958, p. 24. Rouart, Denis (1958). Claude Monet. The Taste of Our Time, 25. James Emmons (translator), León Dégand (introduction and conclusion). New York: Albert Skira. OCLC 518538. (subscription required)

Rouart 1958, p. 41. Rouart, Denis (1958). Claude Monet. The Taste of Our Time, 25. James Emmons (translator), León Dégand (introduction and conclusion). New York: Albert Skira. OCLC 518538. (subscription required)

Rewald 1961, p. 228. Rewald, John (1961). The History of Impressionism. New York: Museum of Modern Art. ISBN 0-87070-369-2. (subscription required)

uni-muenster.de

web.archive.org

Richard 1998. Richard, Paul (1998). "At the Phillips, a Midwinter Day's Dream". The Washington Post. Archived from the original on April 10, 2016. Retrieved April 14, 2012. (subscription required)

Postage stamp of The Magpie Archived 2011-09-28 at the Wayback Machine Pierre Albuisson (1990). Retrieved June 15, 2011.

See "The Journey" at Exhibition Monet 2010 Archived 2011-08-27 at the Wayback Machine; Ford, Rob (January 2011). "The Edge of Flash Archived 2013-01-10 at the Wayback Machine". Adobe Inspire Magazine. Adobe Systems Incorporated.

worldcat.org

For an extended discussion of The Luncheon (Le Dejeuner) and how it fits into the timeline of the first Étretat campaign, see: Wagner, Anne M. (1994) "Why Monet gave up figure painting." Art Bulletin 74 (4): 612. ISSN 0004-3079.

Meyers 2011, p. 75. Meyers, Jeffrey (2011). "Cloud of unknowing". New Criterion. 29 (6): 73–75. Bibcode:1961Natur.189..610A. doi:10.1038/189610b0. ISSN 0734-0222.

The Magpie (Monet) (English Wikipedia)

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