Impressionism 1

Impressionism

Claude Monet, Impression, soleil levant(Impression, Sunrise), 1872, oil on canvas, Musée

Marmottan

Impressionism was a 19th-century art movement that began as a looseassociation of Paris-based artists whose independent exhibitionsbrought them to prominence in the 1870s and 1880s. The name of themovement is derived from the title of a Claude Monet work,Impression, Sunrise (Impression, soleil levant), which provoked thecritic Louis Leroy to coin the term in a satiric review published in LeCharivari.

Characteristics of Impressionist paintings include relatively small, thin,yet visible brush strokes, open composition, emphasis on the accuratedepiction of light in its changing qualities (often accentuating theeffects of the passage of time), ordinary subject matter, the inclusion ofmovement as a crucial element of human perception and experience,and unusual visual angles. The emergence of Impressionism in the visual arts was soon followed by analogousmovements in other media which became known as Impressionist music and Impressionist literature.

Impressionism also describes art created in this style, but outside of the late 19th century time period.

Overview

Alfred Sisley, Bridge at Villeneuve-la-Garenne,1872, Metropolitan Museum of Art

Radicals in their time, early Impressionists broke the rules of academicpainting. They began by giving colours and shades freely brushed,primacy over line, drawing inspiration from the work of painters suchas Eugène Delacroix. They also took the act of painting out of thestudio and into the modern world. Previously, still lifes and portraits aswell as landscapes had usually been painted indoors.[1] TheImpressionists found that they could capture the momentary andtransient effects of sunlight by painting en plein air. Painting realisticscenes of modern life, they portrayed overall visual effects instead ofdetails. They used short "broken" brush strokes of mixed and pureunmixed colour, not smoothly blended or shaded, as was customary, inorder to achieve the effect of intense colour vibration.

Although the rise of Impressionism in France happened at a time when a number of other painters, including theItalian artists known as the Macchiaioli, and Winslow Homer in the United States, were also exploring plein-airpainting, the Impressionists developed new techniques that were specific to the movement. Encompassing what itsadherents argued was a different way of seeing, it was an art of immediacy and movement, of candid poses andcompositions, of the play of light expressed in a bright and varied use of colour.

The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision,even if it did not receive the approval of the art critics and establishment.By re-creating the sensation in the eye that views the subject, rather than recreating the subject, and by creating awelter of techniques and forms, Impressionism became a precursor seminal to various movements in painting whichwould follow, including Neo-Impressionism, Post-Impressionism, Fauvism, and Cubism.

Impressionism 2

Beginnings

Pierre-Auguste Renoir, Dance at Le Moulin de laGalette (Bal du moulin de la Galette), Musée

d'Orsay, 1876

In an atmosphere of change as Emperor Napoleon III rebuilt Paris andwaged war, the Académie des Beaux-Arts dominated the French artscene in the middle of the 19th century. The Académie was theupholder of traditional standards for French painting, both in contentand style. Historical subjects, religious themes, and portraits werevalued (landscape and still life were not), and the Académie preferredcarefully finished images which mirrored reality when examinedclosely. Colour was somber and conservative, and the traces of brushstrokes were suppressed, concealing the artist's personality, emotions,and working techniques.

Pierre-Auguste Renoir, Girl with aHoop, 1885

The Académie held an annual, juried art show, the Salon de Paris, and artistswhose work displayed in the show won prizes, garnered commissions, andenhanced their prestige. The standards of the juries reflected the values of theAcadémie, represented by the highly polished works of such artists as Jean-LéonGérôme and Alexandre Cabanel. Some younger artists painted in a lighter andbrighter manner than painters of the preceding generation, extending further therealism of Gustave Courbet and the Barbizon school. They were more interestedin painting landscape and contemporary life than in recreating scenes fromhistory. Each year, they submitted their art to the Salon, only to see the juriesreject their best efforts in favour of trivial works by artists working in theapproved style. A core group of young realists, Claude Monet, Pierre-AugusteRenoir, Alfred Sisley, and Frédéric Bazille, who had studied under CharlesGleyre, became friends and often painted together. They soon were joined byCamille Pissarro, Paul Cézanne, and Armand Guillaumin.[2]

Pierre-Auguste Renoir, On theTerrace, oil on canvas, 1881, Art

Institute of Chicago

In 1863, the jury rejected The Luncheon on the Grass (Le déjeuner sur l'herbe)by Édouard Manet primarily because it depicted a nude woman with two clothedmen at a picnic. While nudes were routinely accepted by the Salon when featuredin historical and allegorical paintings, the jury condemned Manet for placing arealistic nude in a contemporary setting.[3] The jury's sharply worded rejection ofManet's painting, as well as the unusually large number of rejected works thatyear, set off a firestorm among French artists. Manet was admired by Monet andhis friends, and led the discussions at Café Guerbois where the group of artistsfrequently met.

After seeing the rejected works in 1863, Emperor Napoleon III decreed that thepublic be allowed to judge the work themselves, and the Salon des Refusés(Salon of the Refused) was organized. While many viewers came only to laugh,the Salon des Refusés drew attention to the existence of a new tendency in artand attracted more visitors than the regular Salon.[4]

Impressionism 3

Claude Monet, Woman with aParasol, (Camille and Jean Monet),

1875, National Gallery of Art,Washington, D.C.

Artists' petitions requesting a new Salon des Refusés in 1867, and again in 1872,were denied. In the latter part of 1873, Monet, Renoir, Pissarro, and Sisleyorganized the Société Anonyme Coopérative des Artistes Peintres, Sculpteurs,Graveurs ("Cooperative and Anonymous Association of Painters, Sculptors, andEngravers") for the purpose of exhibiting their artworks independently. Membersof the association, which soon included Cézanne, Berthe Morisot, and EdgarDegas, were expected to forswear participation in the Salon. The organizersinvited a number of other progressive artists to join them in their inauguralexhibition, including the older Eugène Boudin, whose example had firstpersuaded Monet to take up plein air painting years before.[5] Another painterwho greatly influenced Monet and his friends, Johan Jongkind, declined toparticipate, as did Manet. In total, thirty artists participated in their firstexhibition, held in April 1874 at the studio of the photographer Nadar.

Claude Monet, The Cliff at Étretat after theStorm, 1885, Clark Art Institute, Williamstown,

Massachusetts

The critical response was mixed, with Monet and Cézanne bearing theharshest attacks. Critic and humorist Louis Leroy wrote a scathingreview in the Le Charivari newspaper in which, making wordplay withthe title of Claude Monet's Impression, Sunrise (Impression, soleillevant), he gave the artists the name by which they would becomeknown. Derisively titling his article The Exhibition of theImpressionists, Leroy declared that Monet's painting was at most, asketch, and could hardly be termed a finished work.

He wrote, in the form of a dialog between viewers,Impression—I was certain of it. I was just telling myself that,since I was impressed, there had to be some impression in it ...and what freedom, what ease of workmanship! Wallpaper in its

embryonic state is more finished than that seascape.[6]

Claude Monet, Haystacks, (sunset), 1890–1891,Museum of Fine Arts, Boston

The term "Impressionists" quickly gained favour with the public. Itwas also accepted by the artists themselves, even though they were adiverse group in style and temperament, unified primarily by theirspirit of independence and rebellion. They exhibited together—albeitwith shifting membership—eight times between 1874 and 1886.

Monet, Sisley, Morisot, and Pissarro may be considered the "purest"Impressionists, in their consistent pursuit of an art of spontaneity,sunlight, and colour. Degas rejected much of this, as he believed in theprimacy of drawing over colour and belittled the practice of paintingoutdoors.[7] Renoir turned against Impressionism for a time in the1880s, and never entirely regained his commitment to its ideas.Édouard Manet, despite his role as a leader to the group, neverabandoned his liberal use of black as a colour, and never participated in the Impressionist exhibitions. He continuedto submit his works to the Salon, where his Spanish Singer had won a 2nd class medal in 1861, and he urged theothers to do likewise, arguing that "the Salon is the real field of battle" where a reputation could be made.[8]

Impressionism 4

Camille Pissarro, Boulevard Montmartre, 1897,the Hermitage, St. Petersburg

Among the artists of the core group (minus Bazille, who had died inthe Franco-Prussian War in 1870), defections occurred as Cézanne,followed later by Renoir, Sisley, and Monet, abstained from the groupexhibitions in order to submit their works to the Salon. Disagreementsarose from issues such as Guillaumin's membership in the group,championed by Pissarro and Cézanne against opposition from Monetand Degas, who thought him unworthy.[9] Degas invited Mary Cassattto display her work in the 1879 exhibition, but he also causeddissension by insisting on the inclusion of Jean-François Raffaëlli,Ludovic Lepic, and other realists who did not represent Impressionistpractices, leading Monet in 1880 to accuse the Impressionists of"opening doors to first-come daubers".[10] The group divided over the

invitation of Signac and Seurat to exhibit with them in 1886. Pissarro was the only artist to show at all eightImpressionist exhibitions.

The individual artists saw few financial rewards from the Impressionist exhibitions, but their art gradually won adegree of public acceptance and support. Their dealer, Durand-Ruel, played a major role in this as he kept their workbefore the public and arranged shows for them in London and New York. Although Sisley would die in poverty in1899, Renoir had a great Salon success in 1879. Financial security came to Monet in the early 1880s and to Pissarroby the early 1890s. By this time the methods of Impressionist painting, in a diluted form, had become commonplacein Salon art.[11]

Impressionist techniques

Berthe Morisot, The Cradle, 1872,Musée d'Orsay

• Short, thick strokes of paint are used to quickly capture the essence of thesubject, rather than its details. The paint is often applied impasto.

• Colours are applied side-by-side with as little mixing as possible, creating avibrant surface. The optical mixing of colours occurs in the eye of the viewer.

• Grays and dark tones are produced by mixing complementary colours. In pureImpressionism the use of black paint is avoided.

• Wet paint is placed into wet paint without waiting for successive applicationsto dry, producing softer edges and an intermingling of colour.

• Painting in the evening to get effets de soir - the shadowy effects of the lightin the evening or twilight.

• Impressionist paintings do not exploit the transparency of thin paint films(glazes) which earlier artists built up carefully to produce effects. The surfaceof an Impressionist painting is typically opaque.

• The play of natural light is emphasized. Close attention is paid to the reflection of colours from object to object.• In paintings made en plein air (outdoors), shadows are boldly painted with the blue of the sky as it is reflected

onto surfaces, giving a sense of freshness and openness that was not captured in painting previously. (Blueshadows on snow inspired the technique.)

Impressionism 5

Mary Cassatt, Lydia Leaning on HerArms (in a theatre box), 1879

Painters throughout history had occasionally used these methods, butImpressionists were the first to use all of them together, and with such boldness.Earlier artists whose works display these techniques include Frans Hals, DiegoVelázquez, Peter Paul Rubens, John Constable, and J. M. W. Turner.

French painters who prepared the way for Impressionism include the Romanticcolourist Eugène Delacroix, the leader of the realists Gustave Courbet, andpainters of the Barbizon school such as Théodore Rousseau. The Impressionistslearned much from the work of Jean-Baptiste-Camille Corot and Eugène Boudin,who painted from nature in a style that was close to Impressionism, and whobefriended and advised the younger artists.

Impressionists took advantage of the mid-century introduction of premixedpaints in lead tubes (resembling modern toothpaste tubes) which allowed artiststo work more spontaneously, both outdoors and indoors. Previously, painters

made their own paints individually, by grinding and mixing dry pigment powders with linseed oil, which were thenstored in animal bladders.[12]

Content and composition

Camille Pissarro, Hay Harvest at Éragny, 1901,National Gallery of Canada, Ottawa, Ontario

Prior to the Impressionists, other painters, notably such 17th-centuryDutch painters as Jan Steen, had focused on common subjects, but theirapproaches to composition were traditional. They arranged theircompositions in such a way that the main subject commanded theviewer's attention. The Impressionists relaxed the boundary betweensubject and background so that the effect of an Impressionist paintingoften resembles a snapshot, a part of a larger reality captured as if bychance.[13] Photography was gaining popularity, and as camerasbecame more portable, photographs became more candid. Photographyinspired Impressionists to capture the moment, not only in the fleetinglights of a landscape, but in the day-to-day lives of people.

Berthe Morisot, Reading, 1873, ClevelandMuseum of Art

The rise of the impressionist movement can be seen in part as areaction by artists to the newly established medium of photography.The taking of fixed or still images challenged painters by providing anew medium with which to capture reality. Initially photography'spresence seemed to undermine the artist's depiction of nature and theirability to mirror reality. Both portrait and landscape paintings weredeemed somewhat deficient and lacking in truth as photography"produced lifelike images much more efficiently and reliably".[14]

Impressionism 6

Alfred Sisley, View of the Saint-Martin Canal,Paris, 1870, Musée d'Orsay

In spite of this, photography actually inspired artists to pursue othermeans of artistic expression, and rather than competing withphotography to emulate reality, artists focused "on the one thing theycould inevitably do better than the photograph – by further developinginto an art form its very subjectivity in the conception of the image, thevery subjectivity that photography eliminated".[14] The Impressionistssought to express their perceptions of nature, rather than createexacting reflections or mirror images of the world. This allowed artiststo subjectively depict what they saw with their "tacit imperatives oftaste and conscience".[15] Photography encouraged painters to exploitaspects of the painting medium, like colour, which photography thenlacked; "the Impressionists were the first to consciously offer asubjective alternative to the photograph".[14]

Another major influence was Japanese art prints (Japonism), which had originally come into France as wrappingpaper for imported goods. The art of these prints contributed significantly to the "snapshot" angles andunconventional compositions which would become characteristic of the movement.

Edgar Degas was both an avid photographer and a collector of Japanese prints.[16] His The Dance Class (La classede danse) of 1874 shows both influences in its asymmetrical composition. The dancers are seemingly caught offguard in various awkward poses, leaving an expanse of empty floor space in the lower right quadrant. His dancerswere also captured in sculpture such as The Little Fourteen-Year-Old Dancer.

Main Impressionists

Camille Pissarro, Hoarfrost, 1873, Museed'Orsay, Paris

Berthe Morisot, The Harbor at Lorient, 1869,National Gallery of Art, Washington, D.C.

The central figures in the development of Impressionism in France,listed alphabetically, were:• Frédéric Bazille (1841–1870)• Gustave Caillebotte (who, younger than the others, joined forces

with them in the mid 1870s) (1848–1894)• Mary Cassatt (American-born, she lived in Paris and participated in

four Impressionist exhibitions) (1844–1926)• Paul Cézanne (although he later broke away from the

Impressionists) (1839–1906)• Edgar Degas (a realist who despised the term Impressionist, but is

considered one, due to his loyalty to the group) (1834–1917)• Armand Guillaumin (1841–1927)• Édouard Manet (who did not regard himself, nor is generally seen,

as an Impressionist, but who exhibited his work with theirs and wasa great influence on them), (1832–1883)

• Claude Monet (the most prolific of the Impressionists and the onewho most clearly embodies their aesthetic)[17] (1840–1926)

• Berthe Morisot (1841–1895)• Camille Pissarro (1830–1903)• Pierre-Auguste Renoir (1841–1919)• Alfred Sisley (1839–1899)

Impressionism 7

Gallery

Edgar Degas(1834–1917), Dancer with

a Bouquet of Flowers(Star of the Ballet), 1878

Edgar Degas, Stage Rehearsal, 1878–1879,The Metropolitan Museum of Art New York

City

Edgar Degas, Dancersat The Bar, 1888, The

Phillips Collection,Washington, D.C.

Edgar Degas, Woman in the Bath, 1886,Hill-Stead Museum, Farmington, Connecticut

Edgar Degas, L'Absinthe, 1876,Musée d'Orsay, Paris

Édouard Manet (1832–1883),Plum, 1878, National Gallery

of Art, Washington, D.C.

Armand Guillaumin (1841–1927),Sunset at Ivry (Soleil couchant à Ivry)

1873, Musee d'Orsay

Gustave Caillebotte, (1848–1894), ParisStreet, Rainy Day, 1877. Art Institute of

Chicago

Frédéric Bazille (1841–1870), Paysage aubord du Lez, 1870, Minneapolis Institute of

Art

Impressionism 8

Timeline: Lives of the ImpressionistsThe Impressionists

Associates and influenced artists

James Abbott McNeill Whistler,Nocturne in Black and Gold: The

Falling Rocket (1874), DetroitInstitute of Arts

Among the close associates of the Impressionists were several painters whoadopted their methods to some degree. These include Giuseppe De Nittis, anItalian artist living in Paris who participated in the first Impressionist exhibit atthe invitation of Degas, although the other Impressionists disparaged hiswork.[18] Federico Zandomeneghi was another Italian friend of Degas whoshowed with the Impressionists. Eva Gonzalès was a follower of Manet who didnot exhibit with the group. James Abbott McNeill Whistler was anAmerican-born painter who played a part in Impressionism although he did notjoin the group and preferred grayed colours. Walter Sickert, an English artist,was initially a follower of Whistler, and later an important disciple of Degas; hedid not exhibit with the Impressionists. In 1904 the artist and writer WynfordDewhurst wrote the first important study of the French painters to be publishedin English, Impressionist Painting: its genesis and development, which did muchto popularize Impressionism in Great Britain.

By the early 1880s, Impressionist methods were affecting, at least superficially,the art of the Salon. Fashionable painters such as Jean Beraud and Henri Gervex found critical and financial successby brightening their palettes while retaining the smooth finish expected of Salon art.[19] Works by these artists aresometimes casually referred to as Impressionism, despite their remoteness from Impressionist practice.

Beyond France

Mary Cassatt, The Child's Bath (TheBath), 1893, oil on canvas, Art

Institute of Chicago

As the influence of Impressionism spread beyond France, artists, too numerousto list, became identified as practitioners of the new style. Some of the moreimportant examples are:• The American Impressionists, including Mary Cassatt, William Merritt Chase,

Frederick Carl Frieseke, Childe Hassam, Willard Metcalf, Lilla Cabot Perry,Theodore Robinson, Edmund Charles Tarbell, John Henry Twachtman, and J.Alden Weir.

• Anna Boch, Vincent van Gogh´s friend Eugène Boch, Georges Lemmen andThéo van Rysselberghe Impressionist painters from Belgium.

• Walter Richard Sickert and Philip Wilson Steer were well knownImpressionist painters from the United Kingdom.

• The Australian Impressionists, including Frederick McCubbin and TomRoberts who were prominent members of the Heidelberg School and JohnPeter Russell a friend of Van Gogh, Rodin, Monet and Matisse as well asRupert Bunny, Agnes Goodsir and Hugh Ramsay.

• Lovis Corinth, Max Liebermann, and Max Slevogt in Germany• László Mednyánszky in Hungary

Impressionism 9

• Roderic O'Conor, and Walter Osborne in Ireland• Konstantin Korovin and Valentin Serov in Russia• Francisco Oller y Cestero, a native of Puerto Rico and a friend of Pissarro and Cézanne• William McTaggart in Scotland.• Laura Muntz Lyall, a Canadian artist• Władysław Podkowiński, a Polish Impressionist and symbolist• Nazmi Ziya Güran, who brought Impressionism to Turkey• Chafik Charobim in Egypt• Eliseu Visconti in Brazil• Mārtiņš Krūmiņš in Latvia, Germany and the United States.• Joaquín Sorolla in Spain• Fernando Fader, Martín Malharro, Ramón Silva in Argentina

Sculpture, photography and filmThe sculptor Auguste Rodin is sometimes called an Impressionist for the way he used roughly modeled surfaces tosuggest transient light effects.Pictorialist photographers whose work is characterized by soft focus and atmospheric effects have also been calledImpressionists.French Impressionist Cinema is a term applied to a loosely defined group of films and filmmakers in France from1919–1929, although these years are debatable. French Impressionist filmmakers include Abel Gance, Jean Epstein,Germaine Dulac, Marcel L’Herbier, Louis Delluc, and Dmitry Kirsanoff.

Music and literature

Claude Monet, Water Lilies, 1916, The NationalMuseum of Western Art, Tokyo

Musical Impressionism is the name given to a movement in Europeanclassical music that arose in the late 19th century and continued intothe middle of the 20th century. Originating in France, musicalImpressionism is characterized by suggestion and atmosphere, andeschews the emotional excesses of the Romantic era. Impressionistcomposers favoured short forms such as the nocturne, arabesque, andprelude, and often explored uncommon scales such as the whole tonescale. Perhaps the most notable innovations used by Impressionistcomposers were the first uses of major 7th chords and the extension ofchord structures in 3rds to five and six part harmonies.

The influence of visual Impressionism on its musical counterpart isdebatable. Claude Debussy and Maurice Ravel are generallyconsidered the greatest Impressionist composers, but Debussydisavowed the term, calling it the invention of critics. Erik Satie wasalso considered to be in this category although his approach was considered to be less serious, more of musicalnovelty in nature. Paul Dukas is another French composer sometimes considered to be an Impressionist but his styleis perhaps more closely aligned to the late Romanticists. Musical Impressionism beyond France includes the work ofsuch composers as Ralph Vaughan Williams , Ottorino Respighi (Italy) and Allan Willcocks, Cyril Scott and JohnIreland (England).

The term Impressionism has also been used to describe works of literature in which a few select details suffice to convey the sensory impressions of an incident or scene. Impressionist literature is closely related to Symbolism, with its major exemplars being Baudelaire, Mallarmé, Rimbaud, and Verlaine. Authors such as Virginia Woolf and

Impressionism 10

Joseph Conrad have written works which are Impressionistic in the way that they describe, rather than interpret, theimpressions, sensations and emotions that constitute a character's mental life.

Post-Impressionism

Camille Pissarro, Children on a Farm, 1887

Post-Impressionism developed from Impressionism. From the 1880sseveral artists began to develop different precepts for the use of colour,pattern, form, and line, derived from the Impressionist example:Vincent van Gogh, Paul Gauguin, Georges Seurat, and Henri deToulouse-Lautrec. These artists were slightly younger than theImpressionists, and their work is known as post-Impressionism. Someof the original Impressionist artists also ventured into this newterritory; Camille Pissarro briefly painted in a pointillist manner, andeven Monet abandoned strict plein air painting. Paul Cézanne, whoparticipated in the first and third Impressionist exhibitions, developed ahighly individual vision emphasising pictorial structure, and he is moreoften called a post-Impressionist. Although these cases illustrate the difficulty of assigning labels, the work of theoriginal Impressionist painters may, by definition, be categorised as Impressionism.

Notes[1] Exceptions include Canaletto, who painted outside and may have used the camera obscura.[2] "Vincent Van Gogh" Oxford Art Online[3] Denvir (1990), p.133.[4] Denvir (1990), p.194.[5] Denvir (1990), p.32.[6] Rewald (1973), p. 323.[7] Gordon; Forge (1988), pp. 11–12.[8] Richardson (1976), p. 3.[9] Denvir (1990), p.105.[10] Rewald (1973), p. 603.[11] Rewald, (1973), p. 475–476.[12] Renoir and the Impressionist Process, The Phillips Collection (http:/ / www. phillipscollection. org/ docs/ education/ lbp-kit_4. pdf)[13] Rosenblum (1989), p. 228.[14] Levinson, Paul (1997) The Soft Edge; a Natural History and Future of the Information Revolution, Routledge, London and New York[15] Sontag, Susan (1977) On Photography, Penguin, London[16] Baumann; Karabelnik, et al. (1994), p. 112.[17] Denvir (1990), p.140.[18] Denvir (1990), p.152.[19] Rewald (1973), p.476–477.

References• Baumann, Felix; Karabelnik, Marianne, et al. (1994). Degas Portraits. London: Merrell Holberton. ISBN

1-85894-014-1• Denvir, Bernard (1990). The Thames and Hudson Encyclopaedia of Impressionism. London: Thames and

Hudson. ISBN 0-500-20239-7• Gordon, Robert; Forge, Andrew (1988). Degas. New York: Harry N. Abrams. ISBN 0-8109-1142-6• Gowing, Lawrence, with Adriani, Götz; Krumrine, Mary Louise; Lewis, Mary Tompkins; Patin, Sylvie; Rewald,

John (1988). Cézanne: The Early Years 1859-1872. New York: Harry N. Abrams.• Moskowitz, Ira; Sérullaz, Maurice (1962). French Impressionists: A Selection of Drawings of the French 19th

Century. Boston and Toronto: Little, Brown and Company. ISBN 0-316-58560-2

Impressionism 11

• Rewald, John (1973). The History of Impressionism (4th, Revised Ed.). New York: The Museum of Modern Art.ISBN 0-87070-360-9

• Richardson, John (1976). Manet (3rd Ed.). Oxford: Phaidon Press Ltd. ISBN 0-7148-1743-0• Rosenblum, Robert (1989). Paintings in the Musée d'Orsay. New York: Stewart, Tabori & Chang. ISBN

1-55670-099-7

External links• Hecht Museum (http:/ / mushecht. haifa. ac. il/ hecht/ art/ frenchart_eng. aspx)• Mauclair, Camille (1903): The French Impressionists (1860-1900) (http:/ / www. gutenberg. org/ etext/ 14056) at

Project Gutenberg• Museumsportal Schleswig-Holstein (http:/ / www. museen-sh. de/ ml/ digicult. php?digiID=601. 9& s=2)• Suburban Pastoral (http:/ / arts. guardian. co. uk/ art/ visualart/ story/ 0,,2020144,00. html) The Guardian, 24

February 2007• Impressionism: Paintings collected by European Museums (1999) was an art exhibition co-organized by the High

Museum of Art, Atlanta, the Seattle Art Museum, and the Denver Art Museum, touring from May throughDecember 1999. Online guided tour (http:/ / www. impressionism. org)

Article Sources and Contributors 12

Article Sources and ContributorsImpressionism  Source: http://en.wikipedia.org/w/index.php?oldid=427041280  Contributors: 021-adilk, 08131428, 100110100, 16@r, 1717, 5 albert square, 5robmar, 83d40m, 84user,AGiganticPanda, Aannie123, Abrech, Adam.J.W.C., Addshore, AdultSwim, AgnosticPreachersKid, Ahoerstemeier, Alansohn, Alexius08, Allstarecho, Alsocal, Althasil, Andonic, Andre Engels,Andres, AndrewDressel, Andreworkney, Andrewrp, Angela, Anna Lincoln, Anonymous anonymous, Antandrus, Arpingstone, Athaenara, AuburnPilot, Austin228, Avono, Avs5221, AxelBoldt,Aziz1005, Barbara Shack, Bearian, Belovedfreak, Blanchardb, Blue67pony, Bluemoose, Blzbuba, Bobmarley100, Bobo192, Bodnotbod, Bongwarrior, Bookofjude, Boubi, Brandon5485,Brougham96, Brunnock, Buddhipriya, Bukowsky, C+C, CIreland, Caltas, Caltrop, Camster, Can't sleep, clown will eat me, CarTick, Caractecus, CardinalDan, Cathare, Celljuke, CeltMDC,CenozoicEra, Chaleur, Chaosmotic, Chinneeb, Chodorkovskiy, Chris 73, Chris the speller, Chrislk02, Chrism, Christian Kreibich, Chzz, Closedmouth, Cobaltbluetony, Codymiller212, Coffee,ColinBoylett, Colonies Chris, Conversion script, Cool3, Copysan, Courcelles, Craigor, Cryonic07, Cryptic, Cst17, Ctbolt, Cuthwulf, D, D-MacDermott, D. Recorder, DO'Neil, DR2004,Da500063, Daler, Damasta, DanielCD, Danny, Dantheman531, DarkReaver119, Darren23, DatKy, Davewild, David Gale, Davnor, Debora, Deckiller, Dejvid, Delirium, Deor, Discospinster,DocWatson42, Dodo bird, ESkog, EdBever, Edivorce, Eeekster, EhJJ, Eljayberry, Enki H., Enviroboy, Epbr123, Errefg, Etacar11, Eternal, Euroartgallery, Evanreyes, Everyking, Ewulp, ExRat,Exert, Eyeswide, FF2010, Fanfo, Faradayplank, Favonian, Fcharbar, Feags, Ferkelparade, Fieldday-sunday, Flemingmas214, Flockmeal, Flyguy649, Foobaz, Fox, Freshacconci, GT5162,Gahillaker, Galoubet, Ghirlandajo, Graham87, Gratine, Gtstricky, Gurch, Gwernol, HJ Mitchell, HNamlit, Hadal, Hamtechperson, Hanberke, Harryboyles, Henrik, Heron, Hmains, Hultanu, HuwPowell, Hyacinth, Hydrogen Iodide, IGeMiNix, Icairns, Imurbabii08, Infrogmation, Insiriusdenial, Iridescent, Ivan Bajlo, Ixfd64, J.delanoy, JNW, Jab843, Jahsonic, Jauhienij, Jdario, Jeff G.,Jerzy, Jfknrh, Jhinman, JillandJack, Jmonkey1221, Jmundo, JoanneB, John Vandenberg, JorgeGG, Jossi, Joylifen, Juliancolton, Justin Foote, KGasso, Kameraad Pjotr, Karada, Katefan0,Kbdank71, Killiondude, Klemay, KnowledgeOfSelf, Knownot, Knulclunk, Konstable, Koppedia, Krehbielart, Kristina!!, Kristof vt, Kukini, Kyle1278, L Kensington, Ladogs, Larablan, Ld100,Lexor, LiDaobing, Lightdarkness, Lightmouse, Lights, Liliboyd, Lilwiteboi22, Linn Hansen, Lir, Lithoderm, LittleOldMe, LittleOldMe old, Locos epraix, Longhair, Lozsmellz69, Luk, Lupo,Luwilt, MAAATTT, MER-C, Magister Mathematicae, Magnus Manske, Mailer diablo, Mak Thorpe, Mandarax, Mani1, Maproom, Marek69, Marionnnyo, Marjil.smith, Marktheafrican,Markusbradley, MartinHarper, MarylandArtLover, Mattinbgn, Mayooranathan, Mbossa, Mboverload, McVities, Mentifisto, Mephistophelian, Merlion444, Michael Bednarek, MichaelTinkler,Miquonranger03, Mmbeach, Modernist, Momirt, MonsterShouter, Mosca, Mr. Absurd, Mrmaninla, Mshelle8, NYArtsnWords, Nakon, NawlinWiki, Neverquick, Nick, Noctibus, Nokmar,Nuttycoconut, Nv8200p, Oda Mari, Oghmoir, Olga wade, Onorem, Orayzio, Oriolhernan, Orphan Wiki, Ourboldhero, Oxymoron83, Palica, Paris 16, ParisianBlade, Parthenon II, Patrickartguy,Pax:Vobiscum, Pbweil, Peregrine981, Perkons, Persian Poet Gal, Peter morrell, Pgk, Pharaoh of the Wizards, Phearson, Philip Trueman, Pladask, Planetneutral, Pparazorback, Prestonmag,Prozaic, Puchiko, Puffin, Pumeleon, Purgatory Fubar, Quintote, Qxz, R.P.D., Radishspirit123, RainbowOfLight, Recognizance, Reconsider the static, Remember, Reolgovi, Res2216firestar,RexNL, Rich Farmbrough, Rjwilmsi, Rmhermen, Rob4lyf111, Romanm, Ron Stoppable, Ronhjones, Ronk01, RoyBoy, RoySmith, Rrburke, Rstrubinger, Rstvier, SHallathome, SJP, Sam Korn,SatanicToothpaste, Sciurinæ, Scottybob, Seascapeza, Shoessss, SimonP, Skarebo, Skeppy, Slade65, Smokizzy, Snowolf, Some jerk on the Internet, SpaceFlight89, Sparkit, Special-T, SqueakBox,Stephenb, Stevage, Stevegallery, Stirling Newberry, Suisui, SuperHamster, Supercoop, Supperfreeak, Suriel1981, SusanLesch, Suziesue02, Svballer65, Sweetteababy, THEN WHO WASPHONE?, Tachyon01, Taker17, Tanthalas39, Tarquin, TastyPoutine, Taty2007, The Land, The Thing That Should Not Be, The Unknown Hitchhiker, The undertow, TheAznSensation,TheGreenCarrot, TheRanger, Thebigbenji, Thegrandwazoo742, Themusicking, Thesmatestguy, Tide rolls, Tiptoety, Tiziano52, Tlumaczek, Toby Bartels, Tohd8BohaithuGh1, Tommy2010,Tpbradbury, Treecko 09, Triqui, Trusilver, Ttrell, TubularWorld, Ty32ed, Tyrenius, Ukulele, Ulric1313, Uncle Dick, Unyoyega, Utcursch, Utility Monster, Vina, Vinnyk, Viridae, Viriditas,Voyagerfan5761, Vrenator, Waggers, Wahabijaz, Walkerma, Ward3001, Wayward, WeniWidiWiki, Wgimpressionists, Wik, Wimt, Wvkevin, X!, X201, XXLOLDAXx, Xhienne, Yuckfoo,ZachismZane, Zfr, 1467 anonymous edits

Image Sources, Licenses and ContributorsFile:Claude Monet, Impression, soleil levant, 1872.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Claude_Monet,_Impression,_soleil_levant,_1872.jpg  License: Public Domain Contributors: Ardfern, Avatar, Denniss, Duduziq, Ephemeronium, Fanghong, Hekerui, Luestling, Man vyi, Marv1N, Rlbberlin, Thuresson, Zolo, 1 anonymous editsFile:Sisley-Bridge at Villeneuve-la-Garenne.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Sisley-Bridge_at_Villeneuve-la-Garenne.jpg  License: Public Domain  Contributors:Original uploader was Alcinoe at en.wikipediaFile:Pierre-Auguste Renoir, Le Moulin de la Galette.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Pierre-Auguste_Renoir,_Le_Moulin_de_la_Galette.jpg  License: PublicDomain  Contributors: Jack ma, Man vyi, Michael Bednarek, Paris 16, Rizalninoynapoleon, TangopasoFile:Girl with a Hoop.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Girl_with_a_Hoop.JPG  License: Public Domain  Contributors: User:AgnosticPreachersKidFile:Pierre-Auguste Renoir 007.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Pierre-Auguste_Renoir_007.jpg  License: Public Domain  Contributors: AndreasPraefcke, Emijrp,H005, Ilmari Karonen, Kaldari, Olpl, Oxxo, Urban, Yann, 1 anonymous editsFile:Claude Monet 011.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Claude_Monet_011.jpg  License: Public Domain  Contributors: AndreasPraefcke, Ardfern, Docu, Emijrp,FoeNyx, Gryffindor, Ham, Olpl, Razr, Urban, Wst, ZoloFile:Claude Monet The Cliffs at Etretat.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Claude_Monet_The_Cliffs_at_Etretat.jpg  License: Public Domain  Contributors: Ardfern,Ephemeronium, Kilom691, Mr. Absurd, Palamède, Rlbberlin, ZoloFile:Claude Monet - Graystaks I.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Claude_Monet_-_Graystaks_I.JPG  License: Public Domain  Contributors: Ardfern,Donarreiskoffer, PhilipdCartwright, Rlbberlin, Shinka, Slomox, Szilas, Zolo, 1 anonymous editsFile:Camille Pissarro 007.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Camille_Pissarro_007.jpg  License: Public Domain  Contributors: Alexandrin, AndreasPraefcke, Ardfern, JJMesserly, Kilom691, Man vyi, Mayhem, Mu, Olivier2, Olpl, Paris 16, Samulili, Slomox, Tangopaso, Yann, Zolo, 5 anonymous editsFile:Berthe Morisot, Le berceau (The Cradle), 1872.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Berthe_Morisot,_Le_berceau_(The_Cradle),_1872.jpg  License: Public Domain Contributors: AndreasPraefcke, Cacophony, DO11.10, Docu, G.dallorto, Kilom691, Luestling, Ms2ger, Xenophon, 3 anonymous editsFile:Cassatt Mary At the Theater 1879.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Cassatt_Mary_At_the_Theater_1879.jpg  License: Public Domain  Contributors: KameraadPjotr, 1 anonymous editsFile:Hay Harvest at Éragny by Camille Pissarro 1901.png  Source: http://en.wikipedia.org/w/index.php?title=File:Hay_Harvest_at_Éragny_by_Camille_Pissarro_1901.png  License: PublicDomain  Contributors: Alexandrin, Alfonso", Ardfern, Editor at Large, Jkelly, Nonenmac, Olivier2, Skeezix1000, WstFile:Berthe Morisot Reading.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Berthe_Morisot_Reading.jpg  License: Public Domain  Contributors: Cazo3788, Docu, EurekaLott,Ranveig, 1 anonymous editsFile:Alfred Sisley 001.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Alfred_Sisley_001.jpg  License: Public Domain  Contributors: Ardfern, Bohème, Hailey C. Shannon, Mattes,Olivier2, Zolo, 1 anonymous editsFile:Camille Pissarro, Gelee blanche (Hoarfrost), 1873.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Camille_Pissarro,_Gelee_blanche_(Hoarfrost),_1873.jpg  License: PublicDomain  Contributors: AndreasPraefcke, Ardfern, Flominator, Krscal, Lalupa, Luestling, WstFile:Berthe Morisot The Harbor at Lorient.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Berthe_Morisot_The_Harbor_at_Lorient.jpg  License: Public Domain  Contributors:Cazo3788, Docu, K800i, Kilom691File:Edgar Germain Hilaire Degas 069.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Edgar_Germain_Hilaire_Degas_069.jpg  License: Public Domain  Contributors:AndreasPraefcke, Ardfern, Ies, Jean-Frédéric, Mattes, Rlbberlin, TwoWings, WstFile:Edgar Germain Hilaire Degas 009.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Edgar_Germain_Hilaire_Degas_009.jpg  License: Public Domain  Contributors: AdMeskens,AndreasPraefcke, Ardfern, Dcoetzee, Diomede, Editor at Large, Ganymead, RlbberlinFile:Edgar Germain Hilaire Degas 072.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Edgar_Germain_Hilaire_Degas_072.jpg  License: Public Domain  Contributors:AndreasPraefcke, Ardfern, Deadstar, Rlbberlin, WolfmannFile:Edgar Germain Hilaire Degas 032.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Edgar_Germain_Hilaire_Degas_032.jpg  License: Public Domain  Contributors:AndreasPraefcke, Ardfern, Ham, Lennert B, Ranveig, Rlbberlin, SkipjackFile:Edgar Germain Hilaire Degas 012.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Edgar_Germain_Hilaire_Degas_012.jpg  License: Public Domain  Contributors:AndreasPraefcke, Deadstar, Docu, Hailey C. Shannon, Olivier2, PeepP, 1 anonymous editsFile:Edouard Manet 039.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Edouard_Manet_039.jpg  License: Public Domain  Contributors: Ardfern, EDUCA33E, Gryffindor, Ham,Razr, Urban, Wst

Image Sources, Licenses and Contributors 13

File:Guillaumin SoleilCouchantAIvry.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Guillaumin_SoleilCouchantAIvry.jpg  License: unknown  Contributors: Original uploaderwas Sparkit at en.wikipediaFile:Gustave Caillebotte - La Place de l'Europe, temps de pluie.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Gustave_Caillebotte_-_La_Place_de_l'Europe,_temps_de_pluie.jpg License: unknown  Contributors: -File:Bazille Paysage au bord du Lez.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Bazille_Paysage_au_bord_du_Lez.jpg  License: Public Domain  Contributors: Jan Arkesteijn,Mattis, 1 anonymous editsFile:James Abbot McNeill Whistler 012.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:James_Abbot_McNeill_Whistler_012.jpg  License: Public Domain  Contributors:AndreasPraefcke, Howcheng, Mattes, Olivier2, Verdy p, WmpearlFile:cassatt the bath.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Cassatt_the_bath.jpg  License: unknown  Contributors: Original uploader was Isis at en.wikipedia Later versionswere uploaded by Moverton at en.wikipedia.File:Monet Water Lilies 1916.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Monet_Water_Lilies_1916.jpg  License: Public Domain  Contributors: Ardfern, Morio, Rlbberlin,Schlurcher, Szilas, Zolo, 1 anonymous editsFile:Camille Pissarro 019.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Camille_Pissarro_019.jpg  License: Public Domain  Contributors: AndreasPraefcke, Ardfern, Bohème,Olivier2, Wst

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