The Artists Mistaken for Impressionists
Impressionism is known for its interest in depicting scenes of modern life as well as its aim to render the effects of light as the eye sees them, frequently by using relative colors. An example of relative color is illustrated in Claude Monet’s Stacks of Wheat (End of Summer) (1890/91), in which the artist primarily used pinks and purples to reproduce the effect the setting summer sun had on the drying grass. In addition to Monet, members of the Impressionist collective included Pierre-Auguste Renoir, Berthe Morisot, Edgar Degas, and, strictly speaking, any artist who exhibited work in one of the eight Impressionist exhibitions (1874–86). For the most part, the organizing members of the exhibitions encouraged new forms of expression and welcomed artists whose objectives differed from their own. Hence, disparate artists—from Paul Cézanne to Paul Gauguin to Georges Seurat—exhibited with the Impressionists and, by the aforementioned definition, were Impressionists themselves.
Many other contemporary artists both influenced and were influenced by the movement but never participated in the Impressionist exhibitions. We take a look at these artists, many of whom are frequently mistaken as members of the Impressionist movement but had no active role in advancing it.
Édouard Manet
The work of French artist Édouard Manet in the 1860s greatly influenced the group of younger artists who would become the original Impressionists, and by 1873 Manet’s friendship with the group had led to his own experimentation with their approach. This can be seen in his most luminous plein-air painting, Boating (1874), in which he not only depicted the Impressionists’ favorite subject, the middle class at leisure, but he also adopted their lighter palette and broken brushstrokes. Yet Manet maintained his realist approach for most of his career and never participated in the Impressionist exhibitions, preferring to submit his paintings to the annual Salon instead.
Eva Gonzalès
The only formal student of Manet, the French painter Eva Gonzalès often faced criticism for her painting because of what audiences and critics claimed were overt similarities to the style of her teacher, whose work at the time was still considered somewhat crude in terms of subjects and technique. Although she was a contemporary of the Impressionists and is often grouped with them from an art historical perspective, Gonzalès adhered more to a realist aesthetic and, like her mentor, opted to remain within the confines of the academic Salons instead.
Frédéric Bazille
The French painter Frédéric Bazille was a student alongside future Impressionists Monet, Renoir, and Alfred Sisley in the atelier of Charles Gleyre. As an artist Bazille used simplified forms and exquisite colors, though his compositions often have a static feel. As a friend, benefactor, and colleague of the Impressionists, Bazille played an important role during the movement’s formative years, but his promising career came to an abrupt end when he was killed in the Franco-German War.
Vincent van Gogh
Dutch artist Vincent van Gogh arrived in Paris in 1886 in time to catch the eighth and last Impressionist exhibition. His eventual friendships with a number of the participants, including Camille Pissarro, Georges Seurat, and Paul Gauguin, led to changes in his painting, as seen in such works as Fishing in Spring, the Pont de Clichy (Asnières) (1887), which resembles the work of the Impressionists. His palette is more colorful, his vision less traditional, and his brushwork more broken such that at times it is pointillistic. Van Gogh continued to develop his technique, however, so that by the beginning of 1888, his own unique Post-Impressionist style had crystallized.
Henri de Toulouse-Lautrec
The French artist Henri de Toulouse-Lautrec is perhaps best known for documenting with great psychological insight the personalities and facets of Parisian nightlife and the French world of entertainment in the 1890s. He settled in Paris in 1882, the year of the seventh Impressionist exhibition, and in the following years made many artist friends, including van Gogh. Toulouse-Lautrec, however, never formally joined any theoretical school and instead readily lifted techniques and styles from all of art history to achieve a particular effect. Indeed his work shows the influence of Impressionist Degas with its unusual perspectives and focus on entertainment.
Auguste Rodin
A contemporary of the Impressionist group, the French sculptor Auguste Rodin was friendly with its members, especially Monet. His work also shows similar themes to those of the movement, including an interest in the effect of light and emphasis on materiality, imperfect surfaces, and subjects depicted without allegory or embellishment. Rodin also exhibited with several members of the Impressionists in group shows at the Galerie Georges Petit, Paris, including one with Monet in 1889. Rodin, however, never showed his work in the Impressionist exhibitions.
James McNeill Whistler
The American-born artist James McNeill Whistler arrived in Paris in 1855 to study painting and was soon drawn to the French modern movement, responding to the realism associated with the painters Gustave Courbet, Henri Fantin-Latour, and François Bonvin, all of whom he knew. His painting Symphony in White, No. 1: The White Girl (1862) was exhibited at the Salon des Refusés in 1863 alongside the works of Manet and future Impressionists Paul Cézanne, Camille Pissarro, and Armand Guillaumin. Whistler later displayed work in shows that included members of the Impressionist group at the Galerie Georges Petit in the 1880s, but he never participated in the Impressionist exhibitions. Indeed, though Whistler was keen on painting in nature as the Impressionists did and often used their expressive brushstrokes, he never adopted their radiant colors or dynamic compositions.
John Singer Sargent
The Italian-born American painter John Singer Sargent is perhaps best known for his luminous portraits of Edwardian Age society, but before he became a much-sought-after artist, he went to Paris to study painting with Carolus-Duran, a fashionable society portraitist. This was in 1874, the same year that the Impressionists put together their first exhibition. Soon Sargent began to experiment with their techniques and became friends with a few of the members. He never participated in the Impressionist exhibitions, showing at the Salon instead. Like the Impressionists, however, he encountered derision from the art he exhibited. In 1884 he showed what he considered his masterpiece, Madame X (1884), a portrait of Madame Gautreau, a famous Parisian beauty. The work caused a scandal—critics found it eccentric and erotic. Sargent was disagreeably surprised at its reception and subsequently moved permanently to London.
Henri Rousseau
A tax collector in the Paris toll office, Henri Rousseau was an artist with no formal training. He was a contemporary of the Impressionists, but his interests were primarily in emulating academic naturalism. His art, with its flat colors and geometric forms, however, turned out more abstract than he perhaps intended or perceived. These qualities were ridiculed by critics when he showed at the Salon of 1885, but they were respected by such artists as Paul Signac, a Neo-Impressionist who exhibited at the last Impressionist exhibition, in 1886. That same year, he encouraged Rousseau to show work at the Salon des Indépendants, an annual exhibition Signac had helped found wherein any artist could show for a small fee.
The members of the Ten American Painters
Mary Cassatt, who was born in Pennsylvania and moved to Paris in 1874, was the only American Impressionist and showed her work in the fourth, fifth, sixth, and eighth Impressionist exhibitions. Many other American artists enthusiastically absorbed the Impressionists’ techniques while visiting France and brought them back to the United States. Although a few adopted only the look of Impressionism, many others shared the French Impressionists’ interest in depicting modern life and capturing light. Most of these artists were part of a group called the Ten American Painters (or simply the Ten), who exhibited together from 1898 to 1918. There were actually 11 members: Childe Hassam, John Henry Twachtman, J. Alden Weir, Thomas Wilmer Dewing, Joseph De Camp, Frank W. Benson, Willard Leroy Metcalf, Edmund Tarbell, Robert Reid, E.E. Simmons, and William Merritt Chase.
