Renoir and Claude Monet were the two most daring innovators among the Impressionists and between them existed a close， lifelong friendship. At the time this picture was painted， Renoir often stayed at the Monet house in Argenteuil， a small community near Paris， on the Seine. The two men painted many pictures there， often setting up easels side by side. As a result of their and other Impressionists’ pictures， Argenteuil will have a lasting renown in the annals of art as a proving ground for Impressionist theories.
　　 On one occasion Edouard Manet joined the two friends. He was working on a picture of Mme. Monet and her son， with Monet in the background. From time to time he glanced at Renoir， who had also set up an easel. At an opportune moment， he drew Monet aside and， making what is one of the worst wrong guesses in history， said： “You’re a good friend of Renoir’s. Why don’t you tell him to give up painting？ You can see he’ll never get anywhere.”
　　 Amusingly enough， Renoir at this time was considerably under the influence of Manet’s painting， which he admired for its terse clarity， its boldness of attack， and its elimination of shadow. The plate opposite is very Manet-like， and shows these characteristics.
　　 It is really a study in instantaneous vision： in every respect the canvas exemplifies the attempt to strip painting to what is caught in a fleeting glimpse. Mme. Monet， at her ease on the couch， looks up momentarily from her reading; the artist， in a stenographic manner， notes the main color areas and shapes. There is almost no modeling; sharp contrasts of color and value establish features， hair， and details of the costume. The figure cuts across the canvas on a diagonal; one half is the thriftiest possible indication of pillows and wall， the other half is given to sketchy details and more assertive color. The picture has grace， air， vivacity， and complete assurance： a veritable tour de force.
　　雷諾阿和克劳德·莫奈是印象派画家中最勇于创新的两位。他们二人亲密无间，友情延续了一生。创作此画的那段日子，雷诺阿常常待在莫奈在阿让特伊的住处。阿让特伊是巴黎附近的一个小镇，位于塞纳河畔。他们俩在那里画了很多画，创作时常把画架并排摆放。正是包括他们在内的一些印象派画家的画作让阿让特伊后来名垂艺术史，那里因成为印象派各种理论的试验场而闻名。
　　有一次，爱德华·马奈和他俩在一起。马奈在为莫奈夫人和她儿子画像，他还把莫奈画在了背景里。他时不时瞥一眼雷诺阿，雷诺阿也已架好了画架。马奈找了个机会把莫奈拉到一边，说出了心里的想法，这想法可算史上最离谱的：“你跟雷诺阿这么要好，为什么不劝劝他放弃画画呢？我看他在这一行不会有什么成就的。”
　　有意思的是，雷诺阿当时深受马奈绘画的影响，他很欣赏马奈作品运笔简练明快、处理大胆奔放，还不画阴影。画中莫奈夫人对面的盘子就很有马奈之风，显露了这些特点。
　　这幅画其实是瞬时视觉的一幅习作：从各方面看，此画都表明了画家试图用画笔呈现瞬间一瞥所捕捉到的事物。莫奈夫人舒服地躺坐在长沙发上，她正在看报，突然抬起头看了一眼。雷诺阿以简洁的笔触描绘主色块和轮廓。画面几乎没有立体感;色彩对比鲜明，层次清晰，勾勒出人物的容貌、头发和服装的细节。莫奈夫人的形象呈对角线斜跨画面：上半截是极简呈现的靠枕和墙壁;下半截是粗略呈现的细节和更加厚重的色彩。这幅画雅致有格调，透着一丝活泼和十足的自信——确确实实是一幅杰作。