impressionism

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

Impressionism was a 19th-century art movement that originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s in spite of harsh opposition from the art community in France. The name of the style is derived from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satiric review published in the Parisian newspaper Le Charivari.

Characteristics of Impressionist paintings include relatively small, thin, yet visible brush strokes; open composition; emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time); common, ordinary subject matter; the inclusion of movement as a crucial element of human perception and experience; and unusual visual angles. The development of Impressionism in the visual arts was soon followed by analogous styles 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 violated the rules of academic painting. They began by constructing their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix. They also painted realistic scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes had usually been painted in the studio.^[1] The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air. They portrayed overall visual effects instead of details, and used short "broken" brush strokes of mixed and pure unmixed colour—not blended smoothly or shaded, as was customary—in order to achieve the effect of intense colour vibration.

Although the emergence of Impressionism in France happened at a time when a number of other painters, including the Italian artists known as the Macchiaioli, and Winslow Homer in the United States, were also exploring plein-air painting, the Impressionists developed new techniques that were specific to the style. Encompassing what its adherents argued was a different way of seeing, it was an art of immediacy and movement, of candid poses and compositions, 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 the new style did not receive the approval of the art critics and establishment.

By recreating the sensation in the eye that views the subject, rather than delineating the details of the subject, and by creating a welter of techniques and forms, Impressionism became a precursor of various styles of painting, including Neo-Impressionism, Post-Impressionism, Fauvism, and Cubism.

Beginnings

Pierre-Auguste Renoir, Dance at Le Moulin de la Galette (Bal du moulin de la Galette), Musée d'Orsay, 1876

In a time of change as Emperor Napoleon III of France rebuilt Paris and waged war, the Académie des Beaux-Arts dominated French art during the middle of the 19th century. The Académie was the preserver of traditional standards for French painting, both in content and style. Historical subjects, religious themes, and portraits were valued (landscape and still life were not), and the Académie preferred carefully finished images which looked realistic when examined closely. Colour was somber and conservative, and the traces of brush strokes were suppressed, concealing the artist's personality, emotions, and working techniques.

Pierre-Auguste Renoir, Girl with a Hoop, 1885

The Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of such artists as Jean-Léon Gérôme and Alexandre Cabanel. Some younger artists painted in a lighter and brighter manner than painters of the preceding generation, extending further the realism of Gustave Courbet and the Barbizon school. They were more interested in painting landscape and contemporary life than in recreating scenes from history. Each year, the works they submitted to the Salon jury were rejected in favour of works by artists faithful to the approved style. A group of young realists, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and Frédéric Bazille, who had studied under Charles Gleyre, became friends and often painted together. They gathered at the Café Guerbois, where the discussions were often led by Édouard Manet, whom the younger artists greatly admired. They were soon joined by Camille Pissarro, Paul Cézanne, and Armand Guillaumin.^[2]

Pierre-Auguste Renoir, On the Terrace, oil on canvas, 1881, Art Institute of Chicago

Claude Monet, Woman with a Parasol, (Camille and Jean Monet), 1875, National Gallery of Art, Washington, D.C.

In 1863, the jury rejected Manet's The Luncheon on the Grass (Le déjeuner sur l'herbe) primarily because it depicted a nude woman with two clothed men at a picnic. While nudes were routinely accepted by the Salon when featured in historical and allegorical paintings, the jury condemned Manet for placing a realistic nude in a contemporary setting.^[3] The jury's severely worded rejection of Manet's painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists.

After seeing the rejected works in 1863, Emperor Napoleon III decreed that the public 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 art and attracted more visitors than the regular Salon.^[4]

Artists' petitions requesting a new Salon des Refusés in 1867, and again in 1872, were denied. 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") for the purpose of exhibiting their artworks independently. Members of the association, which soon included Cézanne, Berthe Morisot, and Edgar Degas, were expected to forswear participation in the Salon. The organizers invited a number of other progressive artists to join them in their inaugural exhibition, including the older Eugène Boudin, whose example had first persuaded Monet to adopt plein air painting years before.^[5] Another painter who greatly influenced Monet and his friends, Johan Jongkind, declined to participate, as did Manet. In total, thirty artists participated in their first exhibition, held in April 1874 at the studio of the photographer Nadar.

Claude Monet, The Cliff at Étretat after the Storm, 1885, Clark Art Institute, Williamstown, Massachusetts

The critical response was mixed, with Monet and Cézanne receiving the harshest attacks. Critic and humorist Louis Leroy wrote a scathing review in the newspaper Le Charivari in which, making wordplay with the title of Claude Monet's Impression, Sunrise (Impression, soleil levant), he gave the artists the name by which they would become known. 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.

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. It was also accepted by the artists themselves, even though they were a diverse group in style and temperament, unified primarily by their spirit of independence and rebellion. They exhibited together—albeit with 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 the primacy of drawing over colour and belittled the practice of painting outdoors.^[7] Renoir turned away from Impressionism for a time during the 1880s, and never entirely regained his commitment to its ideas. Édouard Manet, despite his role as a leader to the group, never abandoned his liberal use of black as a colour, and never participated in the Impressionist exhibitions. He continued to submit his works to the Salon, where his painting Spanish Singer had won a 2nd class medal in 1861, and he urged the others to do likewise, arguing that "the Salon is the real field of battle" where a reputation could be made.^[8]

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

Among the artists of the core group (minus Bazille, who had died in the Franco-Prussian War in 1870), defections occurred as Cézanne, followed later by Renoir, Sisley, and Monet, abstained from the group exhibitions in order to submit their works to the Salon. 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.^[9] 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".^[10] The group divided over the invitation of Paul Signac and Georges-Pierre Seurat to exhibit with them in 1886. Pissarro was the only artist to show at all eight Impressionist exhibitions.

The individual artists achieved few financial rewards from the Impressionist exhibitions, but their art gradually won a degree of public acceptance and support. Their dealer, Durand-Ruel, played a major role in this as he kept their work before the public and arranged shows for them in London and New York. Although Sisley would die in poverty in 1899, Renoir had a great Salon success in 1879. Monet became secure financially during the early 1880s and so did Pissarro by the early 1890s. By this time the methods of Impressionist painting, in a diluted form, had become commonplace in 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 the subject, rather than its details. The paint is often applied impasto.
• Colours are applied side-by-side with as little mixing as possible, creating a vibrant surface. The optical mixing of colours occurs in the eye of the viewer.
• Grays and dark tones are produced by mixing complementary colours. In pure Impressionism the use of black paint is avoided.
• Wet paint is placed into wet paint without waiting for successive applications to dry, producing softer edges and an intermingling of colour.
• Painting during evening to get effets de soir—the shadowy effects of the light in the evening or twilight.
• Impressionist paintings do not exploit the transparency of thin paint films (glazes) which earlier artists manipulated carefully to produce effects. The surface of 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 that was not represented in painting previously. (Blue shadows on snow inspired the technique.)

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

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

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

Impressionists took advantage of the mid-century introduction of premixed paints in lead tubes (resembling modern toothpaste tubes), which allowed artists to 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 then stored 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-century Dutch painters as Jan Steen, had emphasized common subjects, but their methods of composition were traditional. They arranged their compositions in such a way that the main subject commanded the viewer's attention. The Impressionists relaxed the boundary between subject and background so that the effect of an Impressionist painting often resembles a snapshot, a part of a larger reality captured as if by chance.^[13] Photography was gaining popularity, and as cameras became more portable, photographs became more candid. Photography inspired Impressionists to represent momentary action, not only in the fleeting lights of a landscape, but in the day-to-day lives of people.

Berthe Morisot, Reading, 1873, Cleveland Museum of Art

The development of Impressionism can be considered partly as a reaction by artists to the challenge presented by photography, which seemed to devalue the artist's skill in reproducing reality. Both portrait and landscape paintings were deemed somewhat deficient and lacking in truth as photography "produced lifelike images much more efficiently and reliably".^[14]

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

In spite of this, photography actually inspired artists to pursue other means of artistic expression, and rather than competing with photography to emulate reality, artists focused "on the one thing they could inevitably do better than the photograph—by further developing into an art form its very subjectivity in the conception of the image, the very subjectivity that photography eliminated".^[14] The Impressionists sought to express their perceptions of nature, rather than create exacting representations. This allowed artists to depict subjectively what they saw with their "tacit imperatives of taste and conscience".^[15] 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".^[14]

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

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

Main Impressionists

Camille Pissarro, Hoarfrost, 1873, Musee d'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 he generally considered, as an Impressionist, but who supported the Impressionists and was a great influence on them), (1832–1883)
• Claude Monet (the most prolific of the Impressionists and the one who embodies their aesthetic most obviously)^[17] (1840–1926)
• Berthe Morisot (1841–1895)
• Camille Pissarro (1830–1903)
• Pierre-Auguste Renoir (1841–1919)
• Alfred Sisley (1839–1899)

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, Dancers at 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), Paris Street, Rainy Day, 1877. Art Institute of Chicago

• 

  Frédéric Bazille (1841–1870), Paysage au bord du Lez, 1870, Minneapolis Institute of Art

Timeline: Lives of the Impressionists

Associates and influenced artists

James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket (1874), Detroit Institute of Arts

Among the close associates of the Impressionists were several painters who adopted their methods to some degree. 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.^[18] Federico Zandomeneghi was another Italian friend of Degas who showed with the Impressionists. Eva Gonzalès was a follower of Manet who did not exhibit with the group. James Abbott McNeill Whistler was an American-born painter who played a part in Impressionism although he did not join the group and preferred grayed colours. Walter Sickert, an English artist, was initially a follower of Whistler, and later an important disciple of Degas; he did not exhibit with the Impressionists. In 1904 the artist and writer Wynford Dewhurst wrote the first important study of the French painters to be published in English, Impressionist Painting: its genesis and development, which did much to 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 success by brightening their palettes while retaining the smooth finish expected of Salon art.^[19] Works by these artists are sometimes casually referred to as Impressionism, despite their remoteness from Impressionist practice.

Beyond France

Mary Cassatt, The Child's Bath (The Bath), 1893, oil on canvas, Art Institute of Chicago

As the influence of Impressionism spread beyond France, artists, too numerous to list, became identified as practitioners of the new style. Some of the more important 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 and Théo van Rysselberghe Impressionist painters from Belgium.
• Walter Richard Sickert and Philip Wilson Steer were well known Impressionist painters from the United Kingdom.
• The Australian Impressionists, including Frederick McCubbin and Tom Roberts who were prominent members of the Heidelberg School and John Peter Russell a friend of Van Gogh, Rodin, Monet and Matisse as well as Rupert Bunny, Agnes Goodsir and Hugh Ramsay.
• Lovis Corinth, Max Liebermann, and Max Slevogt in Germany
• László Mednyánszky in Hungary
• 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
• Skagen Painters a group of Scandinavian artists who painted in a small Danish fishing village

Sculpture, photography and film

The sculptor Auguste Rodin is sometimes called an Impressionist for the way he used roughly modeled surfaces to suggest transient light effects.

Pictorialist photographers whose work is characterized by soft focus and atmospheric effects have also been called Impressionists.

French Impressionist Cinema is a term applied to a loosely defined group of films and filmmakers in France from 1919–1929, 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 National Museum of Western Art, Tokyo

Musical Impressionism is the name given to a movement in European classical music that arose in the late 19th century and continued into the middle of the 20th century. Originating in France, musical Impressionism is characterized by suggestion and atmosphere, and eschews the emotional excesses of the Romantic era. Impressionist composers favoured short forms such as the nocturne, arabesque, and prelude, and often explored uncommon scales such as the whole tone scale. Perhaps the most notable innovations used by Impressionist composers were the first uses of major 7th chords and the extension of chord structures in 3rds to five and six part harmonies.

The influence of visual Impressionism on its musical counterpart is debatable. Claude Debussy and Maurice Ravel are generally considered the greatest Impressionist composers, but Debussy disavowed the term, calling it the invention of critics. Erik Satie was also considered to be in this category although his approach was considered to be less serious, more of musical novelty in nature. Paul Dukas is another French composer sometimes considered to be an Impressionist but his style is perhaps more closely aligned to the late Romanticists. Musical Impressionism beyond France includes the work of such composers as Ralph Vaughan Williams, Ottorino Respighi (Italy) and Cyril Scott and John Ireland (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 Joseph Conrad have written works which are Impressionistic in the way that they describe, rather than interpret, the impressions, 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 1880s several 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 de Toulouse-Lautrec. These artists were slightly younger than the Impressionists, and their work is known as post-Impressionism. Some of the original Impressionist artists also ventured into this new territory; Camille Pissarro briefly painted in a pointillist manner, and even Monet abandoned strict plein air painting. Paul Cézanne, who participated in the first and third Impressionist exhibitions, developed a highly individual vision emphasising pictorial structure, and he is more often called a post-Impressionist. Although these cases illustrate the difficulty of assigning labels, the work of the original Impressionist painters may, by definition, be categorised as Impressionism.

See also

• Art periods
• Expressionism (as a reaction to Impressionism)
• Les XX
• Pictorialism

Notes

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
• 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
• Moffett, Charles S. (1986). "The New Painting, Impressionism 1874-1886". Geneva: Richard Burton SA.

External links

Wikimedia Commons has media related to: Impressionist paintings

Look up impressionism in Wiktionary, the free dictionary.

• Hecht Museum
• Mauclair, Camille (1903):
• The French Impressionists (1860-1900) at Project Gutenberg
• Museumsportal Schleswig-Holstein
• Suburban Pastoral 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 through December 1999. Online guided tour

v d e Impressionism Originators Frédéric Bazille Eugène Boudin Gustave Caillebotte Mary Cassatt Paul Cézanne Edgar Degas Armand Guillaumin Édouard Manet Claude Monet Berthe Morisot Camille Pissarro Pierre-Auguste Renoir Jules Ernest Renoux Alfred Sisley Patrons Gustave Caillebotte Henry O. Havemeyer Ernest Hoschedé Dealers Paul Durand-Ruel Georges Petit Ambroise Vollard American Artists William Merritt Chase Frederick Carl Frieseke Childe Hassam Willard Metcalf Lilla Cabot Perry Theodore Robinson John Henry Twachtman J. Alden Weir Other artists Lovis Corinth Max Liebermann Max Slevogt Konstantin Korovin Valentin Serov Francisco Oller Laura Muntz Lyall Władysław Podkowiński Nazmi Ziya Güran Chafik Charobim Ernest Jean-Marie Millard de Bois Durand Other media Music Literature French Impressionist Cinema See also Decorative Impressionism Post-Impressionism

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