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Updated: May 2, 2025
The clouds of tobacco smoke grew thicker. The hum of conversation louder; especially at an adjoining table where one lean old Academician in a velvet skull cap was discussing the new impressionistic craze which had just begun to show itself in the work of the younger men.
For me, a realist is by no means tied to naturalistic technique he may be poetic, idealistic, fantastic, impressionistic, anything but romantic; that, in so far as he is a realist, he cannot be.
There must be no sudden and unaccountable changes in the behavior or sentiments of the people in the story. On the contrary, there must be reason in all they say and do. Another demand of the character story is that the characters be lifelike. In the plot story, or in the impressionistic story, we may accept the flat figures on the canvas; our interest is elsewhere.
Now it is difficult to keep asunder the names of Goncourt and Degas. To us they are too often unwisely bracketed. The style of the painter has been judged as analogous to the novelist's; yet, apart from a preference for the same subjects for the "modernity" of Paris, there is not much in Degas that recalls Goncourt's staccato, febrile, sparkling, "decomposed", impressionistic prose.
He tried to make her think they could see that great iron crucifix which watches over it day and night from its piny cliff. He had a fancy for a poem, very impressionistic, which should convey the notion of the crucifix's vigil.
How does he secure such intensity of pitch in his painting of atmosphere, of sunshine? By a convention, just as the falsification of shadows by rendering them darker than nature made the necessary contrasts in the old formula. Brightness in clear-coloured shadows is the key-note of impressionistic open-air effects.
The effect was impressionistic and bizarre as it lay in the gorgeous light of the setting sun, yet it pleased and rested the eye of the woman whose thoughts had not been conducive to an appreciation of scenery during the journey past. As she drew a deep breath of the thin, stimulating air, the tension lessened on her strained nerves.
His complete philosophy is the attempt to show in detail that the whole universe and everything it contains manifests the process of uniformly struggling with a negative power, and is an outcome of conflicting, but reconciled forces. An impressionistic picture of the world's eternal becoming through this process is furnished by the first of Hegel's great works, the Phenomenology of Spirit.
This, however, impressionistic though it is, remains to this day the one thoroughly characteristic portrait of Gregoriev; albeit in later life he sat for, and at the request of, three great artists.
The other is called "Midnight in the Black Forest." Uncle William did it in five minutes with a pot of black paint. They say it is impressionistic. So all the evening Uncle William and Uncle Henry talked about the new plan. It is wonderful how Uncle William enters into a thing.
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