Manet and Renoir aslo painted scenes of boating and camaraderie. These paintings sharply contrasted Caillebotte’s paintings of boaters because their chief goat was to portray boating as a means of bringing people together. As Herbert demonstrates in Impressionism: Art, Leisure, and Parisian Society Manet and Renoir’s motives for painting boating were far different from Caillebotte’s: “Unlike Manet, [Caillebotte] brings us close to the activity of boating, while he also excludes the social encounters that were Manet’s chief concern. For 
pictures of rowers, Caillebotte’s only rival was Renoir, but, like Manet, Renoir was interested less in the sport itself than in the ways it brought men and women together in a lively suburban society” (Herbert, 246).
In Renoir’s Luncheon of the Boating Party (1881) the main idea is that people are gathered together after or before going out and boating on the lake. The lake is in the background, a secondary and small part of what the ‘boating party’ was all about. The only boat seen in the painting is a sailboat so distant that it is almost the size of the man on the far left’s nose. Renoir focuses on how the people gather together as a community rather than the actual motion of rowing.
Manet in Argentueil (1874) shows a man and a woman on a dock surrounded by boats. The 
man is wearing an outfit fit for sailiing the boats in the background, but he is completely focused on the woman sitting next to him. The boats in this picture are merely a fixture in the background, a pretty setting that acts as an interesting backdrop. Manet uses the theme of boating to show how people are brought together rather than focusing on the action of rowing itself.
Renoir, Luncheon of the Boating Party. Phillips Collection. Washington D.C. 1881.
Manet, Argenteuil. Tournai. Musee des Beau- Arts, 1874.