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Updated: June 30, 2025
What allies him with the impressionists is his fondness for fleeting aspects, his caring for nothing beyond aspect for the look of things and their transitory look. He is an enthusiastic admirer of Ingres who, one would say, is the antithesis of impressionism. He never paints from nature.
One of the pictures which caused most derision was a sunset by Claude Monet, entitled Impressions. From this moment the painters who adopted more or less the same manner were called Impressionists. The word remained in use, and Manet and his friends thought it a matter of indifference whether this label was attached to them, or another.
It's only with you and them, Dawn, that I ever feel thus, and that is why I brought you together." "I can never thank you enough, but I wish to know them better." "You shall. Did I not see how they felt your sphere, as you 'impressionists' say." "I hope they felt my desire for a better life, for it is a great rest to be comprehended.
Further favorable stimulation of the eye is given in the method of the Impressionists in treating "values," that is, comparative relations of light and shade. The real tones of objects including the sky, light, etc., can never be reproduced. The older schools, conscious of this, were satisfied to paint in a scale of correspondence, in which the relative values were fairly kept.
In his exaltation he began an imaginary article denouncing the Impressionists, spouting it aloud as he went along; so that the passers-by caught a word or two, through the traffic, now and then, and turned to look, astonished, at the handsome, gesticulating fellow in the hansom.
It will have to be thanked for an important series of observations as regards the analysis of light, and for an absolutely original conception of drawing. Some years have been wasted by painters of little worth in imitating it, and the Salons, formerly encumbered with academic pastiches, have been encumbered with Impressionist pastiches. It would be unfair to blame the Impressionists for it.
The amazement with which at first he had looked upon the works of the impressionists, changed to admiration; and presently he found himself talking as emphatically as the rest on the merits of Manet, Monet, and Degas. He bought a photograph of a drawing by Ingres of the Odalisque and a photograph of the Olympia.
But somehow when he reached the cave its unwholesome charm overcame him, and he sat down on the boulder at its mouth. "An hour yet before tide time," he said. "Just enough time to read that article on impressionists in my review and then stroll home by the sandshore."
Otherwise how explain why this easily comprehended composition, with its attractive figures, daring hues, and brilliant technique, came to have the door of the Salon closed upon it? The historic exposition at Nadar's photographic studio, on the Boulevard des Capucines, of the impressionists, saw Renoir in company with Monet, Sisley, and the others.
He did so stumblingly at first, and the earliest pictures of his grand style have a certain harshness and ruggedness of surface and heaviness of color which his critics could not forgive any more than the Impressionists, who have outdone that ruggedness, can forgive him his frequent use of a warm general tone inclining to brownness.
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