Boudin took Claude Monet under his wing in the 1850s, when the aspiring artist was still in his teens. Monet came to embrace the older painter’s primary artistic concerns, which included a fascination with the transience of visual sensation and the effects of light and weather on the landscape. The young man also learned to value scenes of modern French life and leisure. Boudin was among the first artists to record the pleasures of the beach vacation, made possible by new railway lines to the northern French coast and the development of fashionable resort towns in Normandy during the Second Empire.
Jean-Luc Douin, 120 ans de cinéma, Gaumont (Paris: Éditions de La Martinière, Gaumont, 2015).
Patrick Ramade, Christophe Marcheteau de Quincay, Un ete au bord de l'eau: loisirs et impressionisme, (Caen: Musée des Beaux-Arts, 2013).
John House and David Hopkin, Impressionists by the sea. (London and New York : Royal Academy of Arts; Distributed in the United States and Canada by Harry N. Abrams, 2007).
Kermit Swiler Champa, Fronia E. Wissman, Deborah J. Johnson, The rise of landscape painting in France: Corot to Monet, (Manchester, NH; New York: H.N. Abrams, 1991).
Allen Rosenbaum and Francis F. Jones, Selections from The Art Museum, Princeton University, (Princeton, NJ: The Art Museum, Princeton University, 1986).
Mahonri Sharp Young and Katherine Wallace Paris, Louis Eugene Boudin: precursor of Impressionism, (Santa Barbara, CA: Santa Barbara Museum of Art, 1976).
Robert Schmit, Eugene Boudin, 1824-1898, (Paris: Schmit, 1973).