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Impressionism Collage


Started: 1862
Ended: 1892
Impressionism Timeline
"Impressionism is only direct sensation. All great painters were more or less Impressionists. It is mainly a question of instinct."
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Claude Monet Signature
"There are no lines in nature, only areas of color, one against another."
2 of 12
Édouard Manet Signature
"If the painter works directly from nature, he ultimately looks for nothing but momentary effects; he does not try to compose, and soon he gets monotonous."
3 of 12
Pierre-Auguste Renoir Signature
"If painting is no longer needed, it seems a pity that some of us are born into the world with such a passion for line and color."
4 of 12
Mary Cassatt Signature
"If the man who paints only the tree, or flower, or other surface he sees before him were an artist, the king of artists would be the photographer. It is for the artist to do something beyond this."
5 of 12
James Whistler Signature
"What seems most significant to me about our movement [Impressionism] is that we have freed painting from the importance of the subject. I am at liberty to paint flowers and call them flowers, without their needing to tell a story."
6 of 12
Pierre-Auguste Renoir Signature
"I paint what I see and not what others like to see."
7 of 12
Édouard Manet Signature
"It is all very well to copy what one sees, but it is far better to draw what one now only sees in one's memory. That is a transformation in which imagination collaborates with memory."
8 of 12
Edgar Degas Signature
"A painting requires a little mystery, some vagueness, some fantasy. When you always make your meaning perfectly plain you end up boring people."
9 of 12
Edgar Degas Signature
"Work at the same time on sky, water, branches, ground, keeping everything going on an equal basis... Don't be afraid of putting on color... Paint generously and unhesitatingly, for it is best not to lose the first impression."
10 of 12
Camille Pissarro Signature
"When you go out to paint try to forget what object you have before you - a tree, a house, a field or whatever. Merely think, here is a little square of blue, here an oblong of pink, here a streak of yellow, and paint it just as it looks to you, the exact color and shape, until it emerges as your own naive impression of the scene before you."
11 of 12
Claude Monet Signature
"After 1918, as we know, enlightened public - as well as critical - esteem went decidedly to Cézanne, Renoir and Degas, and to Van Gogh, Gauguin and Seurat. The 'unorthodox' Impressionists - Monet, Pissarro, Sisley - fell under a shadow. It was then that the 'amorphousness' of Impressionism became an accepted idea; and it was forgotten that Cézanne himself had belonged to, and with, Impressionism as he had to nothing else."
12 of 12
Clement Greenberg, from essay "The Later Monet"

Summary of Impressionism

Impressionism is perhaps the most important movement in the whole of modern painting. At some point in the 1860s, a group of young artists decided to paint, very simply, what they saw, thought, and felt. They weren’t interested in painting history, mythology, or the lives of great men, and they didn’t seek perfection in visual appearances. Instead, as their name suggests, the Impressionists tried to get down on canvas an “impression” of how a landscape, thing, or person appeared to them at a certain moment in time. This often meant using much lighter and looser brushwork than painters had up until that point, and painting out of doors, en plein air. The Impressionists also rejected official exhibitions and painting competitions set up by the French government, instead organizing their own group exhibitions, which the public were initially very hostile to. All of these moves predicted the emergence of modern art, and the whole associated philosophy of the avant-garde.

Key Ideas & Accomplishments

  • The Impressionists used looser brushwork and lighter colors than previous artists. They abandoned traditional three-dimensional perspective and rejected the clarity of form that had previously served to distinguish the more important elements of a picture from the lesser ones. For this reason, many critics faulted Impressionist paintings for their unfinished appearance and seemingly amateurish quality.
  • Picking up on the ideas of Gustave Courbet, the Impressionists aimed to be painters of the real: they aimed to extend the possible subjects for paintings. Getting away from depictions of idealized forms and perfect symmetry, they concentrated on the world as they saw it, which was imperfect in a myriad of ways.
  • Scientific thought in the Impressionist era was beginning to recognize that what the eye perceived and what the brain understood were two different things. The Impressionists sought to capture the former - the optical effects of light - to convey the fleeting nature of the present moment, including ambient features such as changes in weather, on their canvases. Their art did not necessarily rely on realistic depictions.
  • Impressionism records the effects of the massive mid-19th-century renovation of Paris, led by civic planner Georges-Eugène Haussmann, which included the city's newly constructed railway stations; wide, tree-lined boulevards that replaced the formerly narrow, crowded streets; and large, deluxe apartment buildings. The works that focused on scenes of public leisure - especially scenes of cafés and cabarets - often conveyed the new sense of alienation experienced by the inhabitants of the first modern metropolis.

Overview of Impressionism

Detail of <i>A Bar at the Folies-Bergère</i> (1882) by Édouard Manet

Édouard Manet said: "You would hardly believe how difficult it is to place a figure alone on a canvas, and to concentrate all the interest on this single and universal figure and still keep it living and real." Here he hints at the innovative thinking that went into Impressionism's new way of representing the world.

Key Artists

  • Édouard Manet was a French painter and a prominent figure in the mid-nineteenth-century Realist movement of French art. Manet's paintings are considered among the first works of art in the modern era, due to his rough painting style and absence of idealism in his figures. Manet was a close friend of and major influence on younger artists who founded Impressionism such as Claude Monet, Edgar Degas and Pierre-Auguste Renoir.
  • Claude Monet was a French artist who helped pioneer the painterly effects and emphasis on light, atmosphere, and plein air technique that became hallmarks of Impressionism. He is especially known for his series of haystacks and cathedrals at different times of day, and for his late Waterlilies.
  • Edgar Degas was a French Impressionist painter, printmaker and sculptor with an extraordinarily long career from the mid-nineteenth century until after WWI. As one of the original group of Impressionists, although he preferred to be called a Realist, he traveled widely and employed the use of photography in his creative process. He is most renowned for his painting and drawings of ballet dancers in rehearsal and performances in the theatre.
  • Pierre-Auguste Renoir was one of the leading figures of French Impressionism during the late-nineteenth century. Renoir tended to favor outdoor scenes, gardens bathed in sunlight, and large gatherings of people. Known as a master of light, shadow and color, Renoir was also highly esteemed for his depiction of natural movement on the canvas. In terms of the French Impressionists' lasting popularity and fame, Renoir is perhaps second only to Monet.
  • Camille Pissarro was a French Impressionist and Post-Impressionist painter. Known as the "Father of Impressionism," he used his own painterly style to depict urban daily life, landscapes, and rural scenes.
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A Deeper Dive into Impressionism: Nudes in Impressionism, Abstraction, Serial Artworks and more...

Do Not Miss

  • Realism is an approach to art that stresses the naturalistic representation of things, the look of objects and figures in ordinary life. It emerged as a distinct movement in the mid-nineteenth century, in opposition to the idealistic, sometimes mythical subjects that were then popular, but it can be traced back to sixteenth-century Dutch art and forward into twentieth-century styles such as Social Realism.
  • Named after the village of Barbizon, France where the artists gathered, the group of outdoor, Naturalist painters included Jean-Baptiste Camille Corot, Theodore Rousseau, and Jean-Francois Millet.
  • Post-Impressionism refers to a number of styles that emerged in reaction to Impressionism in the 1880s. The movement encompassed Symbolism and Neo-Impressionism before ceding to Fauvism around 1905. Its artists turned away from effects of light and atmosphere to explore new avenues such as color theory and personal feeling, often using colors and forms in intense and expressive ways.

Important Art and Artists of Impressionism

Le déjeuner sur l'herbe (1863)

Artist: Édouard Manet

Edouard Manet's Le déjeuner sur l'herbe (Luncheon on the Grass) was probably the most controversial artwork of the nineteenth century. It caused outrage with its frank depiction of nudity in a contemporary setting and was scorned by the high-minded salon juries and middle-class audiences of the era. But it also earned Manet fame and patronage. Rejected from the Paris Salon in 1863, it became the most controversial of the works displayed in the so-called "Salon des Refusés" held the same year in order to placate artists rejected from the main exhibition. The painting depicts two fully clothed men picnicking with a nude woman, while another scantily clad woman bathes in the background. By removing the female nude from the legitimizing contexts of mythology and orientalism, and in making his female subject confront the viewer assertively with her gaze, Manet hit a nerve in the bourgeois culture of 1860s Paris, and set the wheels of the avant-garde in motion.

Édouard Manet was born in 1832 into an upper-class family with strong cultural and political ties. In terms of age, he found himself sandwiched between the generation of the great Realists, such as Gustave Courbet, and the Impressionists, most of whom were born in the 1840s. The great irony of Manet's reputation as a controversialist is that, throughout his life, he both sought and achieved mainstream success, generally having more work displayed at the official Paris Salons than his younger Impressionist peers. Similarly, although he was friendly with the Impressionists and exhibited with them - and is now often presented as one of them - his style was in some ways very different to theirs. He was far less reliant on plein-air technique than most of the Impressionists, and, whereas artists such as Monet used loose, visible brushstrokes and blended color palettes to depict subtle tonal effects, Manet preferred sharper outlines and exaggerated color contrasts, often placing dark and light areas close together (as in the contrast between naked flesh and shadow in Le déjeuner sur l'herbe).

Nonetheless, Le déjeuner sur l'herbe stands at the forefront of the whole Impressionist project in its fearless departure from inherited forms and techniques. From the subtly flattened picture plane to the defiance of time-honored motifs of high-brow nudity, everything about Manet’s painting courted shock and even ridicule. The Impressionists were inspired by Manet's example to follow their own creative paths, and while their subject-matter was generally less outrageous than Manet's nude picnic, his pioneering work cleared the space necessary for them to work in the way they wanted to.

Impression, Sunrise (1872)

Artist: Claude Monet

Monet's Impressionism, Sunrise is sometimes cited as the work that gave birth to the Impressionist movement, though by the time it was painted, Monet was in fact one of a number of artists already working in the new style. Certainly, however, it was the critic Louis Leroy's derogatory comments on the work and its title, in a satirical review of the First Impressionist Exhibition of 1874, that gave rise to the term "Impressionism". Leroy's review used the term as a comic insult, but the new school of painters quickly adopted it in a spirit of pride and defiance.

Claude Monet was born into a middle-class merchant family in Paris. His parents were hardworking and financially secure but by no means rich or aristocratic, and throughout his early career Monet would struggle to survive as a painter. When he was very young his family moved from Paris to Le Havre, and though Monet returned to Paris in the early 1960s to train as an artist, it was during a visit to his family in Le Havre in 1872 that he created this and a number of other similar works.

What is striking about Impression, Sunrise is the continuity of the color palette between sea, land and sky. All are bathed in the gentle blues, oranges, and greens of sunrise. The subject of the painting is not the city it depicts nor the anonymous boatmen setting out across the water, but the enveloping warmth and color of sunlight itself, or rather the "impression" it makes on the senses at a certain moment in time. This painting of light and the time-specific effects of light was the hallmark of the new style. Impression, Sunrise was one of a number of sketches of the same scene that Monet created in 1872. This serial approach to subject-matter was typical for the painter. In other cases, Monet would create large cycles of work depicting the same scene at different times of day, or during different seasons, emphasizing the way in which light and atmosphere shifted in time-specific ways. The most famous examples of this effect are in the 25 paintings that make up the series Les Meules à Giverny (1890-91), known in English as "The Haystacks".

Fog, Voisins (1874)

Artist: Alfred Sisley

Alfred Sisley's beautiful pastoral scene showcases a gentle color-palette, evocation of tranquility and peace, and emphasis on the overall quality and atmosphere of a landscape over and above specific details and human forms. The female protagonist of this painting, serenely picking flowers, is almost entirely obscured by the dense fog that eclipses the meadow. As in much of Sisley's work, the human body seems melded into the natural scene, becoming both an aspect and expression of a wider natural world.

Born in France to English parents, Alfred Sisley met Pissarro and Monet early in the formation of the group, becoming their co-students at the Swiss painter Charles Gleyre's studio in 1862. Sisley and Monet would go on to become the most dedicated and dazzling proponents of the plein air technique, but their fortunes would take them in different directions. Whereas the middle-class Monet had achieved financial success and fame by the end of his life, the silk-trader's son Sisley, born into riches, ended his days in relative poverty after his father's business failed during the Franco-Prussian War of 1870-71. Sisley's paintings would not yield true financial success until after his death. Nonetheless, he remained prolific throughout his life, and was deeply committed to the ideals of the Impressionist school.

Indeed, the example of Fog, Voisins suggests that Sisley was perhaps the most quintessential Impressionist painter of the whole group. Focusing almost exclusively on representations of light and atmosphere while diminishing the importance of the human form - an approach that many of his peers would grow weary of later in-their careers - Sisley demonstrates his all-consuming preoccupation with representing the moment of perception.

Useful Resources on Impressionism

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Content compiled and written by Justin Wolf

Edited and revised, with Summary and Accomplishments added by Greg Thomas

Plus Page written by Greg Thomas

"Impressionism Movement Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Justin Wolf
Edited and revised, with Summary and Accomplishments added by Greg Thomas
Plus Page written by Greg Thomas
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First published on 01 Feb 2012. Updated and modified regularly
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