Claude Monet 
(1840 - 1926)

In the same summer Monet also painted a portrait of Manet at work “en plain air”.
Sadly only a poor reproduction is available online, because nobody knows where it is.

Claude Monet’s Manet painting in Monet's Garden, was owned by the German Jewish artist Max Liebermann and his wife Martha. The painting was confiscated from the couple’s apartment at Pariser Platz 7, Berlin, in March 1943 after both Max and Martha’s deaths.
The painting, which Max Liebermann had bought in 1898, has not been seen since it was in the Liebermann apartment. It is suspected that the Nazis sold the work after its confiscation.

https://www.monumentsmenandwomenfnd.org/wwii-most-wanted/monet/manet-painting

Manet painting in Monet's Garden in Argenteuil.
1874
Oil on canvas
41 x 68 cm
Private collection

 Édouard Manet
(1832 - 1883)
 

Claude Monet Painting in his Studio or Monet in his Boat is an 1874 oil on canvas painting by Édouard Manet. It shows his friend Claude Monet painting in his 'studio-boat' with his wife. This was an old boat Monet had bought around 1871 or 1872, from which he observed the light on the Seine – Daubigny also had a studio-boat called the Bottin. With The Monet Family in their Garden and Argenteuil, it was one of a number of paintings produced during a summer Manet spent with Monet. 
It is also one of Manet's first works in which he clearly uses impressionist techniques, painted in Argenteuil, 'en plein air'.
The work is now in the Neue Pinakothek in Munich.

https://en.wikipedia.org/wiki/Claude_Monet_Painting_in_his_Studio

Claude Monet painting in his studio boat
1874
Oil on canvas
80 x 98 cm
Neue Pinakothek, Munich, Germany
https://www.sammlung.pinakothek.de/en/artwork/jWLpljKLKY

Claude Monet 
(1840 - 1926)
 

In 1874, the year of the first Impressionist exhibition, Claude Monet painted the Argenteuil Bridge seven times, and the railway bridge which spans the Seine upstream from the village, four times. This shows how attached the artist was to the motif, using the flowing river as a counterpoint for the geometrical mass of the bridge and its piles reflected in the water.
Here the foreground is filled with sailboats at their mooring. The effects of light on the masts and on the roofs of the houses on the bank in the background are an opportunity for the play of complementary colours (orange and blue) which accentuate the glittering light. The Argenteuil Bridge exhibits great variety in treatment: the still firm outlines of the solid or structured elements, such as the sailboats and the bridge, a smooth, even texture for the water in the foreground, and choppy brushstrokes capturing the reflections in the middle ground.

https://www.musee-orsay.fr/en/artworks/le-pont-dargenteuil-1297

Le Pont d'Argenteuil (The Argenteuil Bridge)
1874
Oil on canvas
60 x 80 cm 
Musée d'Orsay, Paris
https://www.musee-orsay.fr/en/artworks/le-pont-dargenteuil-1297

<b>Édouard Manet</b>
(1832 - 1883)

<i>Manet came from a well–to–do family, and this painting provides a glimpse of the sophisticated Parisian world he loved. He was uncomfortable in the countryside, preferring instead the finery of the city. These elegant men and coquettish young women are attending a masked ball held each year during Lent. "Imagine," ran a description in the newspaper Figaro, "the opera house packed to the rafters, the boxes furnished out with all the pretty showgirls of Paris. . . . " There is little doubt about the risqué nature of the evening, where masked young women, likely respectable ladies concealing their identities, scantily clad members of the Parisian demimonde, and well–dressed young men all mingle together. 
</i>

https://www.nga.gov/artworks/61246-masked-ball-opera 

<i>Manet made his preparatory sketches for it from life at an opera house at 12 rue Le Peletier in the 9th arrondissement of Paris - this building was reduced to rubble by a fire later that year. He then produced the painting in his studio on rue d'Amsterdam, to which he had moved shortly before. Its subject is reminiscent of the same artist's Music in the Tuileries (1863) - several of his friends posed for both works in his studio, notably the art collector Hecht and the composer Emmanuel Chabrier for Ball. </i>

https://en.wikipedia.org/wiki/Masked_Ball_at_the_Opera_House

Masked Ball at the Opera House
1873
Oil on canvas
59 x 72.5 cm
National Gallery of Art, Washington, D.C.
https://www.nga.gov/artworks/61246-masked-ball-opera 

Claude Monet 
(1840 - 1926)
 

The Luncheon (Le déjeuner), originally titled Panneau decoratif (Decorative Panel), is an impressionistic depiction of an uncleared luncheon table and several figures in the painter's flower garden. The painting has been in the Musée d'Orsay in Paris since 1886, on loan from the Louvre.

The actual theme of Le Déjeuner, despite its title, is the floral splendor of Monet's garden, rendered in dominant contrasts and bright tones, predominantly red and green. With dots and short strokes, he suggests the large bushes of fuchsias, geraniums, and roses, playfully varying them with the patches of sunlight that illuminate the garden in the early afternoon. Through the trees, the light falls in dappled shades on the dresses of the strolling ladies, on the path, the coffee pot, and the tablecloth, on some of the bars of the wooden garden bench, on the hat in the tree, and on Jean's outfit. The painting perfectly demonstrates Monet's mastery of creating an almost perfectly harmonious whole from seemingly random strokes and dots, capturing the atmosphere of "an equally perfect moment in the afternoon."

https://fr.wikipedia.org/wiki/Le_Déjeuner_(Monet)

The Luncheon
1873
Oil on canvas
160 x 201 cm 
Musée d'Orsay, Paris

https://www.musee-orsay.fr/en/artworks/le-dejeuner-panneau-decoratif-10898

Édouard Manet
(1832 - 1883)
 

The Railway, widely known as Gare Saint-Lazare, is an 1873 painting by Édouard Manet. It is the last painting by Manet of his favourite model, the fellow painter Victorine Meurent, who was also the model for Olympia and the Luncheon on the Grass, among other paintings by Manet. It was exhibited at the Paris Salon in 1874 and donated to the National Gallery of Art in Washington, D.C. in 1956. 

Instead of choosing the traditional natural view as background for an outdoor scene, Manet opted for the iron grating which "stretches across the canvas." The only evidence of the train is its white cloud of steam. Modern apartment buildings can be seen in the background – including the house on the Rue de Saint-Pétersbourg [fr], near the Place de l'Europe [fr], where Manet had rented a studio since July 1872 — and also a signal box and the Pont de l'Europe. 

Historian Isabelle Dervaux has described the reception this painting received when it was first exhibited at the official Paris Salon of 1874: "Visitors and critics found its subject baffling, its composition incoherent, and its execution sketchy. Caricaturists ridiculed Manet's picture, in which only a few recognized the symbol of modernity that it has become today".

https://en.wikipedia.org/wiki/The_Railway

The Railway
1873
Oil on canvas
93,3 x 111.5 cm
National Gallery of Art, Washington, D.C.
https://www.nga.gov/artworks/43624-railway

Claude Monet
(1840 - 1926)
 

Impression, Sunrise (French: Impression, soleil levant) is an 1872 painting by Claude Monet first shown at what would become known as the "Exhibition of the Impressionists" in Paris in April, 1874. The painting is credited with inspiring the name of the Impressionist movement. 
Impression, Sunrise depicts the port of Le Havre, Monet's hometown. It is usually displayed at the Musée Marmottan Monet but was on loan at the Musée d'Orsay from 26 March until 14 July 2024, and was at the National Gallery of Art in Washington, D.C. from 8 September 2024 until 19 January 2025.

https://en.wikipedia.org/wiki/Impression%2C_Sunrise

Impression, Sunrise
1872
Oil on canvas
48 x 63 cm 
Musée Marmottan Monet, Paris
https://www.marmottan.fr/notice/4014/