Impressionism is the most distinctive feature of nineteenth-century art,
and is too large a subject to be treated in an introduction--any proper
consideration of it demands a volume.

The entire execution of a picture out-of-doors was sometimes practised by
Constable, more frequently by Turner, and some of the peculiarities of
the French impressionist artists were shared by the English landscape
painters of the early part of the century. While no one could dream of
calling Constable an impressionist, it is interesting to recall the
reception of his "Opening of Waterloo Bridge." Ridiculed in London, it
was accepted in Paris, and is now honored at the Royal Academy.

This picture was covered with pure white, in impasto, a method dear to
impressionists. Was Constable in advance of his critics? is a question
that comes involuntarily to mind as we read the life of this artist, and
recall the excitement which the exhibition of his works caused at the
Salon of 1824, and the interest they aroused in Delacroix and other
French painters.

The word Impressionism calls to mind the names of Manet, Monet, Pissaro,
Mme. Berthe Morisot, Paul Cézanne, Whistler, Sargent, Hassam, and many
others. Impressionists exhibited their pictures in Paris as early as
1874; not until 1878 were they seen to advantage in London, when Whistler
exhibited in the Grosvenor Gallery; and the New English Art Club, founded
in 1885, was the outcome of the need of this school to be better
represented in its special exhibitions than was possible in other
galleries.

In a comprehensive sense Impressionism includes all artists who represent