Her work was selected for exhibition in six subsequent Salons until, in 1874, she joined the " rejected " Impressionists in the first of their own exhibitions, which included Paul Cézanne, Edgar Degas, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley.

Also known as the " Independents " or " Intransigents ", the group which at times included Degas, Monet, Sisley, Caillebotte, Pissarro, Renoir, and Berthe Morisot, had been receiving the wrath of the critics for several years.

Cassatt had befriended Degas and Pissarro years earlier when she joined Pissarro's newly formed French Impressionist group and gave up opportunities to exhibit in the United States.

Degas described Pissarro ’ s subjects as “ peasants working to make a living ”.

Art historian Diane Kelder notes that it was Pissarro who introduced Gauguin, who was then a young stockbroker studying to become an artist, to Degas and Cézanne.

Disagreements arose from issues such as Guillaumin's membership in the group, championed by Pissarro and Cézanne against opposition from Monet and Degas, who thought him unworthy.

Also exhibited at the exhibition were Degas and Pissarro, both of whom would be her future colleagues and mentors.

Many artists took refuge in England, joining Whistler, including Pissarro and Monet, while Manet and Degas stayed in France.

Impressionism was developed in France by artists such as Claude Monet, Edgar Degas, Pierre-Auguste Renoir and Camille Pissarro.

Few other artists used the technique until Degas, who made several, often working on them further after printing ( Beside the Sea, 1876-7 ); Pissarro also made several.

There are also paintings by Camille Pissarro ( Boulevard Montmartre, Paris ), Paul Cézanne ( Mount Sainte-Victoire ), Alfred Sisley, Henri Morel, and Degas.

At times, he seems very much in the Degas camp of rich-colored realism ( especially his interior scenes ) and at other times, he shares the Impressionists ' commitment to " optical truth " and employs an impressionistic pastel-softness and loose brush strokes most similar to Renoir and Pissarro, though with a less vibrant palette.

This collection included sixty-eight paintings by various artists: Camille Pissarro ( nineteen ), Claude Monet ( fourteen ), Pierre-Auguste Renoir ( ten ), Alfred Sisley ( nine ), Edgar Degas ( seven ), Paul Cézanne ( five ), and Édouard Manet ( four ).

The French Collection includes works by painters such as Jacques-Louis David, Monet, Pissarro, Renoir, Degas and Cézanne, as well as those by Post-impressionists such as van Gogh, Toulouse-Lautrec and Bonnard.

However there are individual works by many other artists, including François Boucher, Rembrandt, Gainsborough, David, El Greco, Rubens, and many of the Impressionists and post-Impressionists — Degas, Renoir, Monet, Pissarro, Seurat, Cézanne and others.

His collection included such masterworks as Manet's A Bar at the Folies-Bergère and a version of his Déjeuner sur l ' Herbe, Renoir's La Loge, landscapes by Claude Monet and Camille Pissarro, a ballet scene by Edgar Degas and a group of eight major works by Cézanne.

It includes paintings by Bruegel, Quentin Matsys, Van Dyck and Tiepolo and rivals the Samuel Courtauld Collection in splendour, being strongest in the works of Rubens. The bequest also included a group of 19th-and 20th ‑ century works by Pissarro, Edgar Degas, Pierre-Auguste Renoir and Oskar Kokoschka.

It has 19th century French paintings by Charles Daubigny, Narcisse Virgilio Díaz, Eugene Boudin (" Port, Le Havre "), Berthe Morisot, Edgar Degas, Gustave Caillebotte (" Railway Bridge at Argentieul "), Claude Monet (" Doges Palace, Venice ), Camille Pissarro, and Paul Cézanne as well as many others.

However the strongest collections are from the 19th century, including romantic works by Delacroix and Gustave Doré, realist works by Corot and Gustave Courbet, and an impressionist works by Degas, Monet, Pissarro, and Renoir

It includes works by Caravaggio, Jean-Baptiste-Siméon Chardin, Petrus Christus, El Greco, Guercino, Alessandro Magnasco, Giuseppe Bazzani, Corrado Giaquinto, Cavaliere d ' Arpino, Gaspare Traversi, Giuliano Bugiardini, Titian, Rembrandt, Louise Élisabeth Vigée Le Brun, and Peter Paul Rubens, as well as Impressionists Gustave Caillebotte, Edgar Degas, Claude Monet, Camille Pissarro and Vincent van Gogh, among others.

In death, Conder's work was rated highly by many notable artists, such as Pissarro and Degas.

Organized by Cézanne, Degas, Monet, Morisot, Pissarro, Renoir, and Sisley, it was held at the studio of the photographer, Nadar.

Artists who were influenced by Japanese art include: Arthur Wesley Dow, Pierre Bonnard, Henri de Toulouse-Lautrec, Mary Cassatt, Edgar Degas, Renoir, James McNeill Whistler ( Rose and silver: La princesse du pays de porcelaine, 1863 – 64 ), Monet, Vincent van Gogh, Camille Pissarro, Paul Gauguin, Bertha Lum, Will Bradley, Aubrey Beardsley, Alphonse Mucha, Gustav Klimt, the sisters Frances and Margaret Macdonald, as well as architects Edward W. Godwin, Frank Lloyd Wright, Charles Rennie Mackintosh and Stanford White, and ceramicists Edmond Lachenal and Taxile Doat.

These 8 include works by Manet, Monet, Pissarro, Renoir, Morisot, Vuillard and Degas.

* Camille Pissarro, French impressionist painter, lived in Penge in the 1870s.

According to the present state of discussion, Post-Impressionism is a term best used within Rewald's definition in a strictly historical manner, concentrating on French art between 1886 and 1914, and re-considering the altered positions of impressionist painters like Claude Monet, Camille Pissarro, Auguste Renoir, and others — as well as all new brands at the turn of the century: from Cloisonnism to Cubism.

* Musée Pissarro ( impressionist collections ) and garden of the five directions.

Louveciennes was frequented by impressionist painters in the 19th century ; according to the official site, there are over 120 paintings by Renoir, Pissarro, Sisley, and Monet depicting Louveciennes.

The collection contains a large selection of 19th-century French art including more than 140 bronze animal sculptures by Antoine-Louis Barye and several paintings by Barbizon artists such as Jean-Baptiste-Camille Corot and impressionist Camille Pissarro.

The work of thousands of artists has been exhibited in the Carnegie International, including that of Winslow Homer, James Abbott McNeill Whistler, Mary Cassatt, Camille Pissarro, Auguste Rodin, Willem de Kooning, Henry Moore, Jackson Pollock, René Magritte, Joan Miró, Alberto Giacometti, Andy Warhol, Joseph Beuys, Sigmar Polke, and William Kentridge.

But Pissarro eventually found their teaching methods “ stifling ,” states art historian John Rewald.

" As a part of the group, Pissarro was comforted from knowing he was not alone, and that others similarly struggled with their art.

Pissarro now expressed his opinion to the group that he wanted an alternative to the Salon so their group could display their own unique styles.

Art historian and the artist's great-grandson Joachim Pissarro notes that they “ professed a passionate disdain for the Salons and refused to exhibit at them .” Together they shared an “ almost militant resolution ” against the Salon, and through their later correspondences it is clear that their mutual admiration “ was based on a kinship of ethical as well as aesthetic concerns ”.

It was Pissarro ’ s intention during this period to help “ educate the public ” by painting people at work or at home in realistic settings, without idealizing their lives.

While they shared ideas during their work, the younger Cézanne wanted to study the countryside through Pissarro ’ s eyes, as he admired Pissarro ’ s landscapes from the 1860s.

During the latter part of 1873, Monet, Renoir, Pissarro, and Sisley organized the Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs (" Cooperative and Anonymous Association of Painters, Sculptors, and Engravers ") to exhibit their artworks independently.

Monet, Sisley, Morisot, and Pissarro may be considered the " purest " Impressionists, in their consistent pursuit of an art of spontaneity, sunlight, and colour.

French Impressionist painters such as Claude Monet, Camille Pissarro, and Pierre-Auguste Renoir advocated en plein air painting, and much of their work was done outdoors, in the diffuse light provided by a large white umbrella.

* Monet, Renoir, Pissarro, and Sisley organized the Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs (" Cooperative and Anonymous Association of Painters, Sculptors, and Engravers ") for the purpose of exhibiting their artworks independently.

Like Whistler, Monet and Pissarro both focused their efforts on views of the city, and it is likely that Whistler was exposed to the evolution of Impressionism founded by these artists and that they had seen his nocturnes.

It also allowed him to help fund Impressionist exhibitions and support his fellow artists and friends ( including Claude Monet, Auguste Renoir, and Camille Pissarro among others ) by purchasing their works and, at least in the case of Monet, paying the rent for their studios.

Artists including Manet, Pissarro, Courbet and Whistler were rejected from the ‘ official ’ exhibition because their works were considered by the committee too subversive and some even thought that these artists posed a danger to society.