"Impressionist" Quotes from Famous Books
 ... often in connection with the American galleries. On wall B is a typically joyous canvas by Gaston La Touche, who carries Impressionism into figure work. On walls C and D are other examples of the Impressionist School, by Pissarro and Renoir and the English Sisley. On wall C is a portrait by Eugene Carriere. On wall D is a panel by Puvis de Chavannes, who has influenced modern mural painting more than any other artist. This picture has the typical union of the classic feeling ...
— An Art-Lovers guide to the Exposition • Shelden Cheney
... days M. Zola's most intimate friend—a companion of his boyhood and youth—was Paul Cezanne, a painter who developed talent as an impressionist; and the lives of Cezanne and Manet, as well as that of a certain rather dissolute engraver, who sat for the latter's famous picture Le Bon Bock, suggested to M. Zola the novel which he has called L'Oeuvre. Claude Lantier, the chief character in the book, is, of course, neither ...
— His Masterpiece • Emile Zola
... special class—to whom is finally given up what was meant for mankind—and the troublesome and trying task laid on them, to try as best they may to reconcile two really conflicting tendencies which cannot even by art be reconciled but really point different ways and tend to different ends. As the impressionist and the pre-Raphaelite, in the sister-art of painting cannot be combined and reconciled in one painter—so it is here; by conception and methods they go different ways, and if they seek the same end, it is by opposing processes—the ...
— Robert Louis Stevenson - a Record, an Estimate, and a Memorial • Alexander H. Japp
... in their style, a style much affected at that period; the tints were stippled in, and every detail given with minute fidelity. The revolution in favor of blottesque had not yet set in, and the period was happily far removed from that of the impressionist, who veils his incapacity under a term—an impression, and calls a daub a picture. Nature never daubs, never strains after effects. She is painstaking, delicate in her work, ...
— The Broom-Squire • S. (Sabine) Baring-Gould
... heaven and earth. Here again there are two words to be said; and it is essential to distinguish. It is true that sun is needed to burnish and bring into bloom the tertiary and dubious colours; the colour of peat, pea-soup, Impressionist sketches, brown velvet coats, olives, grey and blue slates, the complexions of vegetarians, the tints of volcanic rock, chocolate, cocoa, mud, soot, slime, old boots; the delicate shades of these do need the sunlight to bring ...
— Alarms and Discursions • G. K. Chesterton
... wish I could send you away before you get angry with me. But—but the girl that lives with me is red-haired, and an impressionist, and all ...
— The Works of Rudyard Kipling One Volume Edition • Rudyard Kipling
... orderly room, to which, by judicious furnishing, he had given a severe distinction at no great cost. On the walls were a few interesting things, including a couple of his own perspectives. A neo-impressionist oil-sketch over the mantelpiece, with blue trees and red fields and a girl whose face was a featureless blob, imperiously monopolized the attention of the beholder, warning him, whoever he might be, that the inescapable ...
— The Roll-Call • Arnold Bennett
... 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 ...
— Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D. • Clara Erskine Clement |
