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Updated: June 25, 2025
"What is it?" asked Flora, squinting. "It is a new style of the impressionist which I began this morning," soberly. "It looks very natural," observed Flora. "Natural!" Abbott dropped his mahl-stick. "It is Vesuv', is it not, on a cloudy day?" This was too much for Abbott's gravity, and he laughed.
Yet artists have always been jumping each other's claims, and the sole test of the lawfulness of the procedure is the success of the result. If the border-foray of the impressionist or imagist proves successful, well and good, but a triumphant raid should not be mistaken for the steady lines of the main campaign. The Special Field What then do we mean by the province of poetry?
There is no need for the impressionist to make haste, nor would haste avail him, for mobile nature doubles upon him, and plays with his delays the exquisite game of visibility.
There is no need for the impressionist to make haste, nor would haste avail him, for mobile nature doubles upon him, and plays with his delays the exquisite game of visibility.
Thus it results that Japanese poems are, for the most part, impressionist; they suggest a great deal more than they actually express. Here is an example: Momiji-ha wo Kaze ni makasete Miru yori mo Hakanaki mono wa Inochi nari keri This may be translated: More fleeting than the glint of withered leaf wind-blown, the thing called life."* *See Encyclopaedia Britannica, 11th Edition, article "Japan."
In writing this pamphlet I have not cared for graces of literary style or dramatic strength of composition; and I have largely supported myself by quotations as a proof that I am not a mere impressionist, but have a solid back-ground and a firm foothold for all that I have said.
The impressionist calls upon every part of his work to speak of light, the middle tint, the high lights and the shadow all vibrating with it.
Flack explained to them that it would be idiotic to miss such an opportunity to get something at once precious and cheap; for it was well known that impressionism was going to be the art of the future, and Charles Waterlow was a rising impressionist. It was a new system altogether and the latest improvement in art.
There was action for you action and attention to detail. With this man's paintings you could tell a horse from a steamboat at a glance. He was nothing of an impressionist; he never put smokestacks on the horse nor legs on the steamboat. And his work gave general satisfaction throughout that community.
One exhausts what they have to say in a very short time, and then they become as tedious as one's relations. I am very fond of the work of many of the Impressionist painters of Paris and London. Subtlety and distinction have not yet left the school.
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