* Étaples ( Henri Le Sidaner, then English-language Impressionists and Post-Impressionists between 1890-1914 )

The main differences between Gauguin and Strickland are that Gauguin was French rather than English, and whilst Maugham describes the character of Strickland as being largely ignorant of his contemporaries in Modern art ( as well as largely ignorant of other artists in general ), Gauguin himself was well acquainted with and exhibited with the Impressionists in the 1880s and lived for awhile with Van Gogh in southern France.

He painted many scenes of Parisian daily life during the Belle Époque in a style that stands somewhere between the academic art of the Salon and that of the Impressionists.

He continued to travel to France between 1925 and 1935 to study the work of the Impressionists, the Post-Impressionists, and Les Nabis, the styles of which he adapted into his work.

Julie Manet became the subject for many of her mother's paintings and a book of her memoirs Growing Up with the Impressionists: The Diary of Julie Manet, was published in 1987.

The Impressionists ( also known as the " Independents " or " Intransigents ") had no formal manifesto and varied considerably in subject matter and technique.

Although he considered himself to be a modern painter at that time, his early work is in line with the Amsterdam Impressionists and is influenced by Vincent van Gogh, both in style and subject matter.

Although academic painters began a painting by first making drawings and then painting oil sketches of their subject, the high polish they gave to their drawings seemed to the Impressionists tantamount to a lie.

" In The Scotsman George Kerevan wrote " He suffers all the same criticisms of the early French Impressionists: mere wallpaper, too simplistic in execution and subject, too obviously erotic.

Henry Bacon, a friend of the Cassatts, thought that the Impressionists were so radical that they were " afflicted with some hitherto unknown disease of the eye ".

Just as the Impressionists revolutionized light, so did the fauvists rethink color, painting their canvases in bright, wild hues.

In the 1950s, a quarter of a century after the death of Monet, major museums in America started having exhibitions of the original French Impressionists paintings, and in so doing Impressionism was reborn.

His late paintings seemed to open a new chapter in his oeuvre: he now began to draw on the color and painterly effects of the Impressionists ( primarily those of Renoir ) once so much despised by him.

Bonnat's emphasis on overall effect on the one hand, and rigorous drawing on the other, put him in a middle position with respect to the Impressionists and academic painters like his friend Jean-Léon Gérôme.

Degas invited Mary Cassatt to display her work in the 1879 exhibition, but he also caused dissension by insisting on the inclusion of Jean-François Raffaëlli, Ludovic Lepic, and other realists who did not represent Impressionist practices, causing Monet in 1880 to accuse the Impressionists of " opening doors to first-come daubers ".

* Édouard Manet ( who did not regard himself, nor is he generally considered, as an Impressionist, but who supported the Impressionists and was a great influence on them ), ( 1832 – 1883 )

These include Giuseppe De Nittis, an Italian artist living in Paris who participated in the first Impressionist exhibit at the invitation of Degas, although the other Impressionists disparaged his work.

Technically, Degas differs from the Impressionists in that he " never adopted the Impressionist color fleck ", and he continually belittled their practice of painting en plein air.

Her vocal advocacy for the Impressionist movement helped to make it possible for other American Impressionists like Mary Cassatt to gain the exposure and acceptance they needed in the states.

As French Impressionist paintings reached stratospheric prices in the 1970s, Hassam and other American Impressionists gained renewed interest and were bid up as well.

Like most of the American Impressionist artists now known as California Impressionists, Wachtel relocated to Southern California after first establishing her career in the eastern US.

She tried applying the plein-air painting techniques used by the Impressionists to her own landscapes and portraiture, with little success.

By the later 19th century, history painting was often explicitly rejected by avant-garde movements such as the Impressionists ( except for Édouard Manet ) and the Symbolists, and according to one recent writer " Modernism was to a considerable extent built upon the rejection of History Painting ... All other genres are deemed capable of entering, in one form or another, the ' pantheon ' of modernity considered, but History Painting is excluded ".

Radicals in their time, early Impressionists violated the rules of academic painting.

The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air.

Derisively titling his article The Exhibition of the Impressionists, Leroy declared that Monet's painting was at most, a sketch, and could hardly be termed a finished work.

Photography encouraged painters to exploit aspects of the painting medium, like colour, which photography then lacked: " The Impressionists were the first to consciously offer a subjective alternative to the photograph ".

The intensity of hue and interest in evanescent light not only placed Turner's work in the vanguard of English painting, but later exerted an influence upon art in France, as well ; the Impressionists, particularly Claude Monet, carefully studied his techniques.

Several decades later, Impressionism revolutionized art by a taking a similar approach — quick, spontaneous painting done in the out-of-doors ; however, where the Impressionists used rapidly applied, un-mixed colors to capture light and mood, Corot usually mixed and blended his colors to get his dreamy effects.

From the flurry of new art movements that followed the Impressionists ' revolutionary new perception of painting, Cubism arose in the early 20th century as an important and influential new direction.

Subsequently the Impressionists, as well as such 20th century artists as Pierre Bonnard, Edward Hopper, and David Park painted scenes of daily life, but in the context of modern art the term " genre painting " has come to be associated mainly with painting of an especially anecdotal or sentimental nature, painted in a traditionally realistic technique.

He was the most consistent of the Impressionists in his dedication to painting landscape en plein air ( i. e., outdoors ).

The Impressionists pioneered the use of light in painting as they attempted to capture light as seen from the human eye.

Stylistically, the Impressionists, who advocated quickly painting outdoors exactly what the eye sees and the hand puts down, criticized the finished and idealized painting style.

New artistic movements included the Realists and Impressionists, which each sought to depict the present moment and daily life as observed by the eye, and unattatched from historical significance ; the Realists often choosing genre painting and still life, while the Impressionists would most often focus on landscapes.

The Scottish Colourists combined their training in France and the work of French Impressionists and Fauvists, such as Monet, Matisse and Cézanne, with the painting traditions of Scotland.

In this he differs from the more linear and architecturally accurate style of Canaletto's painting. This style, a century later, would make Guardi's works highly prized by the French Impressionists.

The Salon opposed the shift away from traditional painting styles espoused by the Impressionists.

* The use of color by the Impressionists relied on new theories they developed, such as having shadows painted with the reflected light of surrounding, and often unseen, objects.

Following the Impressionists and the Post-Impressionists came Fauvism, often considered the first " modern " genre of art.

The Impressionism | Impressionists often, though by no means always, painted en plein air.

Critics of the past are often ridiculed for either favoring artists now derided ( like the academic painters of the late 19th Century ) or dismissing artists now venerated ( like the early work of the Impressionists ).

Although the Macchiaioli have often been compared to the Impressionists, they did not go as far as their younger French contemporaries in the pursuit of optical effects: They declined to divide up their palette into the components of the colour-spectrum, and did not paint blue shadows.