Pissarro shared Monet's commitment to capturing shifting light on architectural subjects using loose impressionist brushwork and vibrant color harmonies. His series paintings of Rouen and Paris streets demonstrate the same fascination with sunlight dissolving solid forms into luminous color.

Sisley painted churches and village architecture bathed in natural light with a gentle impressionist touch that closely mirrors Monet's sensitivity to atmospheric conditions and color relationships. His approach to capturing sunlight on stone surfaces shares the same luminous, series oriented quality seen in this Vernon church painting.

Morisot applied impressionist color theory with a light saturated palette and fluid brushwork that reflects the same preoccupation with sunlight and transient atmospheric effects central to this work. Her ability to render architectural and outdoor subjects as vibrant fields of broken color places her work in direct stylistic conversation with Monet's church series.