喜鹊 (油画)
尾注

↑  Rathbone 1999; Sweeney 1999; 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.
↑  Moffett et al. 1999, p. 86.
↑  Arts Council of Great Britain 1957, p. 43: "Perhaps Monet's greatest snow landscape."; Rouart 1958: "This, Monet's finest snowscape..."; Gedo 2010: "...one of the most magnificent snow scenes in his entire oeuvre..."
↑  Rouart 1958，第24頁.
↑  Herbert 1996，第14頁.
↑  Mathey 1961: "...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."
↑  Isham 2004，第332頁.
↑  Heinrich 2000，第9頁.
↑  Courbet, Gustave (1856). Trees in the Snow. National Galleries of Scotland.
↑  Musée d'Orsay 的存檔，存档日期2014-10-06.: "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, Eliza Rathbone notes that the date is disputed by scholars.
↑  House 1988 Published in October 1868, but the anecdote is thought to refer to the previous winter.
1 2  Magalhães 2003
↑  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.
↑  Gedo 2010. See also: George, Serge (1996). Claude Monet. Masterworks Series. Ramboro Books. p. 14. ISBN 1-56852-113-8.
↑  Wildenstein, I, 425-26: letter 44, Dec. 1868 as quoted in Isaacson 1994.
↑  Includes Fishing Boats, Calm Weather (Bateaux de Pêche, temps calme) (W 123) and Fishing Boats at Sea (W 126). See also Rouart 1958.
↑  Lane in Normandy (W 128).
↑  Laclotte, Michel. . Scala Publications. 1986. ISBN 0-935748-72-5.  See also footnote 14 as cited in Herbert 1996, p. 138.
↑  May 1999: "Over the course of 30 winters, he [Monet] executed some 140 snowy views"; Moffett et al. 1999, p. 55: "...Monet painted the largest number of winter scenes (more than 140) and is the best known impressionist painter of effets de neige. As Monet took advantage of most significant snowfalls, his output of winter landscapes was often more sporadic, with occasional bursts of activity followed by periods without production..."
↑  Myers 1998: "...his largest winter painting..."; Sweeney 1999: "It is Monet's largest and most ambitious snowscape, an essay about light and shadow on snow."
↑  Rouart 1958，第41頁.
↑  Coe 1957，第382頁.
↑  Gedo 2010
↑  Tinterow & Loyrette 1994，第322頁.
↑  Richard 1998.
↑  Musée d'Orsay, Claude Monet The Magpie, 2006.
↑  Butler 2008
↑  . 2006  [2011-06-05]. （原始内容存档于2012-10-20）. 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)
↑  Moffett 1999: "Visitor surveys and sales of postcard and reproductions indicate that it is the most popular single image in the museum"; Also see Sweeney 1999
↑  Katherine Rothkopf in Moffett 1999; Mathieu 1987: "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".
↑  Howard 1989, Monet, p. 33 as quoted in Meynell 1993.
↑  Orr 1994: "...qualities of light characteristic of different times of day and in different atmospheric conditions."
↑  Orr 1994，第18頁.
↑  Magalhães 2003
↑  Hardin 1988; Schlichting 1999; Moffett 1999
↑  Rewald 1961，第228頁.
↑  Kleiner 2009，第824頁.
↑  Georges Roque (1996) questions whether the Impressionists were aware of Chevreul's law of simultaneous contrast. Aside from Pissarro and Seurat, Roque can find no evidence that the Impressionists knew Chevreul's work directly. However, Backhaus et al. (1998) point out that it was possible the early Impressionists were familiar with the work of Eugène Delacroix, who was intimate with Chevreul's color theories. It is generally accepted that as early as the 1860s, Monet was familiar with Delacroix's work and was influenced by his use of color.
↑  Roque 1996. For more information about Ogden Rood and the Impressionists, see: Kemp, Martin (2008). "The Impressionists' Bible". Nature 453.7191. p. 37.
↑  Magalhães 2003，第12頁.
↑  Clemenceau, Georges. . 1926.
↑  Meyers 2011，第75頁.
↑  Magalhães 2003，第26頁.
↑  Postage stamp of The Magpie 的存檔，存档日期2011-09-28. Pierre Albuisson (1990). Retrieved June 15, 2011.
↑  See "The Journey" at Exhibition Monet 2010 的存檔，存档日期2011-08-27.; Ford, Rob (January 2011). "The Edge of Flash 的存檔，存档日期2013-01-10.". Adobe Inspire Magazine. Adobe Systems Incorporated.