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. At this despised Salon were to be found the names of
Manet, Monet, Whistler, Bracquemont, Jongkind, Fantin-Latour, Renoir,
Legros, and many others who have since risen to fame. Universal ridicule
only fortified the friendships and resolutions of this group of men, and
from that time dates the definite foundation of the Impressionist
school. For thirty years it continued to produce without interruption
an enormous quantity of works under an accidental and inexact
denomination; to obey the creative instinct, without any other dogma
than the passionate observation of nature, without any other assistance
than individual sympathies, in the face of the disciplinary teaching of
the official school.

[Illustration: DEGAS

THE DANCER AT THE PHOTOGRAPHER'S]

II

THE THEORY OF THE IMPRESSIONISTS--THE DIVISION OF TONES, COMPLEMENTARY
COLOURS, THE STUDY OF ATMOSPHERE--THE IDEAS OF THE IMPRESSIONISTS ON
SUBJECT-PICTURES, ON THE BEAUTY OF CHARACTER, ON MODERNITY, AND ON STYLE

It should be stated from the outset that there is nothing dogmatic about
this explanation of the Impressionist theories, and that it is not the
result of a preconceived plan. In art a system is not improvised. A
theory is slowly evolved, nearly always unknown to the author, from the
discoveries of his sincere instinct, and this theory can only be
formulated after years by criticism facing the works. Monet and Manet
have worked for a long time without ever thinking that theories would be
built upon their paintings. Yet a certain number of considerations will
strike the close observer, and I will put these considerations before
the reader, after reminding him that spontaneity and feeling are the
essentials of all art.

[Illustration: DEGAS

CARRIAGES AT THE RACES]

The Impressionist ideas may be summed up in the following manner:--

In nature no colour exists by itself. The colouring of the objects is a
pure illusion: the only creative source of colour is the sunlight which
envelopes all things, and reveals them, according to the hours, with
infinite modifications. The mystery of matter escapes us; we do not know
the exact moment when reality separates itsel