"Impressionistic" Quotes from Famous Books
 ... as the scenery is concerned, I have borrowed from impressionistic painting its asymmetry, its quality of abruptness, and have thereby in my opinion strengthened the illusion. Because the whole room and all its contents are not shown, there is a chance to guess at things—that is, our imagination ...
— Plays by August Strindberg, Second series • August Strindberg
... Philip Dunleavy, a clear-faced, slender, well-bathed boy of twenty-six, with too high a forehead, with discontent in his face and in his thin voice, carelessly well-dressed in a soft-gray suit and an impressionistic tie, was also inspecting Carl, while talking to a pretty, commonplace, finishing-school-finished girl. Carl instantly disliked Philip Dunleavy, and was ...
— The Trail of the Hawk - A Comedy of the Seriousness of Life • Sinclair Lewis
... sketching the life of Andrew Lackaday and Elodie, I again labour under the difficulty of having to compress into a few impressionistic strokes the history of years. The task is in one way made easier, in that these years of work and wandering scarcely show the development of anything. What was true at the end of the first year of their partnership seems ...
— The Mountebank • William J. Locke
... sold, to clog still deeper the art sense of an inartistic people. They laugh at our conventional Chinese art, but the extreme of conventionality is certainly better than some of the daubs I have seen in American homes. Americans have peculiar fancies in art. One is called Impressionist Art. As near as I can understand it, painters claim that while you are looking at an object you do not really see it all, you merely gain an impression; so they paint only the impression. In a museum of art I was shown several rooms ...
— As A Chinaman Saw Us - Passages from his Letters to a Friend at Home • Anonymous
... Schopenhauer was credited with inventing the distinction between the Covenant of Grace and the Covenant of Works which troubled Cromwell on his deathbed. People talked as if there had been no dramatic or descriptive music before Wagner; no impressionist painting before Whistler; whilst as to myself, I was finding that the surest way to produce an effect of daring innovation and originality was to revive the ancient attraction of long rhetorical speeches; to stick closely to the methods of Moliere; and to lift ...
— Back to Methuselah • George Bernard Shaw
... her belonging to him. Max had something like a sensation of guilt because he could not call up a picture of her, traced with the sharp clarity of an etching. In thinking of Billie, he had merely an impressionist portrait: golden hair, wonderful lashes, and a sudden upward look from large, dark eyes, set in a face of pearly whiteness. Because Sanda DeLisle was somewhat of the same type, having yellow-brown hair, and a small, fair face, her image ...
— A Soldier of the Legion • C. N. Williamson
... apprehended everywhere, his own response was inevitably prescribed and pitched as the perfect friendly and genial and liberal thing. Moreover, the value of his having so let himself loose in the immensity tells more at each step in favour of his style; the pages from Canada, where as an impressionist, he increasingly finds his feet, and even finds to the same increase a certain comfort of association, are better than those from the States, while those from the Pacific Islands rapidly brighten and enlarge their inspiration. This part of his adventure was clearly the great success and fell ...
— Letters from America • Rupert Brooke
... the two statements stand for the change likely to come to any student of Balzac: his objective personality at last resolves itself into a vividly personal interpretation. His breadth blinds one for a while, that is all. Hence Balzac may be called an incurable romantic, an impressionist, as much as realist. Like all first-class art, his gives us the seeming-true for our better instruction. He said in the Preface to "Pere Goriot" that the novelist should not only depict the world as it is, but "a possibly better ...
— Masters of the English Novel - A Study Of Principles And Personalities • Richard Burton
... depicting in misty shadows framed by luxurious accessories. They called him the Master of Chiffon, at Julien's; when he threw overboard his old friends and joined the new crowd, their indignation was great. His title now was the Ribbon Impressionist, and at the last salon of the Independents, Falcroft had the mortification of seeing a battalion of his former companions at anchor in front of his picture, The Lady with the Cat, which they reviled for at least an hour. He was an American who had lived his life long in France, and only ...
— Visionaries • James Huneker
... most attenuated form of all is the hokku (or haikai) which consists of only three lines, namely, 17 syllables. Necessarily the ideas embodied in such a narrow vehicle must be fragmentary. Thus it results that Japanese poems are, for the most part, impressionist; they suggest a great deal more than they actually ...
— A History of the Japanese People - From the Earliest Times to the End of the Meiji Era • Frank Brinkley and Dairoku Kikuchi
... housemaid at the Chope de la Sorbonne, did not fail to tell her of Alec's call the day she left Paris for Barbizon. There was no mistaking Leontine's description, which was impressionist to a degree. It was evident, then, that he not only possessed her address, as shown by the letter, but knew of her absence. So she reasoned that if he did not hear from her within forty-eight hours he ...
— A Son of the Immortals • Louis Tracy
... I 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 Light That Failed • Rudyard Kipling
... "The cant of the impressionist school," he said sadly; "on the contrary, the business of the artist is to paint what he knows to be there," and he gazed complacently at his own canvas, which had the appearance of a spirited drawing of a fortified place, or of the contents of a child's Noah's ark, so stiff, ...
— Colonel Quaritch, V.C. - A Tale of Country Life • H. Rider Haggard
... canyons had robbed them of their imaginary dangers, and—while we trust that we are not entirely without imagination—much of their weirdness and glamour with which they are inseparable to the idealist and the impressionist. Each of these upsets could have been avoided by a portage had we desired to make one, but success in other rapids made us a little reckless and ready to ...
— Through the Grand Canyon from Wyoming to Mexico • E. L. Kolb
... 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
... modern painting tends to give the feeling of a subject, the subjective impression rather than the literal outline, we can conceive even in latest musical realism the "atmosphere" as the principal aim. In other words, we may view Strauss as a sort of modern impressionist tone-painter, and so get the ...
— Symphonies and Their Meaning; Third Series, Modern Symphonies • Philip H. Goepp
... anything to add to the debt. The best is perhaps a very short and quite happily told little jest called "An Impression," about the emotions of a peasant model on seeing herself as interpreted by an Impressionist painter. There is also a sufficiently picturesque piece of Wardour Street medievalism in "The Tribute of the Kiss," and some original scenery in "The Mother of Turquoise." But beyond this (though I ...
— Punch, or the London Charivari, Vol. 159, August 18th, 1920 • Various
... artistic life the novel is full of interest. There is little doubt that the character of Claude Lantier was suggested by that of Edouard Manet, the founder of the French Impressionist school, with whom Zola was on terms of friendship. It is also certain that Pierre Sandoz, the journalist with an idea for a vast series of novels dealing with the life history of a family, was the prototype ...
— A Zola Dictionary • J. G. Patterson
... time to stop, he was hunting for a model he had just heard of, and then he would drop into the Nazionale at night to report his want of progress, for no model ever came up to his standard. He referred to his own beauty with the frank simplicity and vanity of a child—a real Post-Impressionist; not one by pose, for there was not a trace of pose in him. I wish I could say how astonishing he was to me. Life has since thrown many young artists and writers my way and I am used to their conceits and affectations and splendid ...
— Nights - Rome, Venice, in the Aesthetic Eighties; London, Paris, in the Fighting Nineties • Elizabeth Robins Pennell
... his artistic horizon and a consciousness of what others were doing, both around him and abroad. In its whole handling and character his late is different from his early manner. It begins at this time to take on a blurred, soft, impressionist character. His delight in rich colouring seems to wane, and he aims at intensifying the power of light. He reaches that point in the Venetian School of painting which we may regard as its climax, when there ...
— The Venetian School of Painting • Evelyn March Phillipps
... the wiseacre of Nature, the vulture is a vile harpy, and the eagle is the embodiment of everything great and mighty, and glorious and free, and swooping and catoptrical. There is very little to say against the eagle, except that he looks a deal the better a long way off, like an impressionist picture or a volcano. When the eagle is flying and swooping, or soaring and staring impudently at the sun, or reproaching an old feather of his own in the arrow that sticks in his chest, or mewing his mighty youth (a process ...
— The Strand Magazine, Volume V, Issue 30, June 1893 - An Illustrated Monthly • Various
... the "impressionist" school is now confined in a lunatic asylum. To all persons who visit him he says, "Look here; this is the latest masterpiece of my composition." They look, and see nothing but an expanse of bare canvas. They ...
— More Toasts • Marion Dix Mosher
... incidents and scenes poked their heads out of the dead level of the past. Rachel and Tanner, discussing the Watts photograph when Rachel first acquired it—Tanner's eager denunciatory talk—he called himself an "impressionist"—the creature!—because he couldn't draw worth a cent—Rachel all smiles and deference. She had never given him that sort of attention. Or Rachel at a housewarming in the next farm to his—Rachel in a pale green dress, the ...
— Harvest • Mrs. Humphry Ward
... this spot the eye is photographic and records every detail, by night you have the same story told again by the brush of an impressionist. It is the reverse with sounds. In the full glare of the sun the myriad voices of the world mingle in a clear roar that is a steady musical note, and soon you forget to hear it. By night each noise is individual, and leaves its ...
— Old Plymouth Trails • Winthrop Packard
... farmhouse on the inland shore of a large bay that was noted for its tides, and had wonderful possibilities of light and shade for an impressionist. Reeves was an enthusiastic artist. It mattered little to him that the boarding accommodations were most primitive, the people uncultured and dull, the place itself utterly isolated, as long as he could revel in those transcendent sunsets and sunrises, those marvellous ...
— Lucy Maud Montgomery Short Stories, 1896 to 1901 • Lucy Maud Montgomery
... Like impressionist pictures, or Wagner's rugged music, the very absence of conventional form challenges attention. In Emily Dickinson's exacting hands, the especial, intrinsic fitness of a particular order of words might not be sacrificed to anything virtually extrinsic; and her ...
— Poems: Three Series, Complete • Emily Dickinson
... since. Stella had changed very little since she came into the flat a bride. Then she wore her hair in a Floradora pompadour; now she wore it hooded close about her head like a scarf, in a rather smeary manner, like an Impressionist's brush-work. She heard her husband come in and close the door softly. While he was taking off his hat in the narrow tunnel of a hall, she ...
— A Collection of Stories, Reviews and Essays • Willa Cather
... you—action and attention to detail. With this man's paintings you could tell a horse from a steamboat at a glance. He was nothing of an impressionist; he never put smokestacks on the horse nor legs on the steamboat. And his work gave ...
— Cobb's Bill-of-Fare • Irvin Shrewsbury Cobb
... were engaged, under the Queen's supervision, in knitting little woollen garments of shattering hues for the unsuspecting Gnomes, the Princess Royal produced her note-book and read aloud extracts which gave an impressionist bird's-eye view of English Literature from the fourteenth to the close of ...
— In Brief Authority • F. Anstey
... were a few impressionist paintings and some gallant French engravings of the eighteenth century: for Hassler pretended to some knowledge of all the arts, and Manet and Watteau were joined together in his taste in accordance with ...
— Jean-Christophe, Vol. I • Romain Rolland
... Scenes may play an important part in a story by influencing the actors or by offering a contrast to the events; in such cases they must be made specific, but rather after the broad free manner of the impressionist. The employment of the contrast or harmony of man and nature is one of the oldest devices of story telling, but also one of the most artistic and effective. It is not an artificial device, though it occasionally appears so from its misuse: ...
— Short Story Writing - A Practical Treatise on the Art of The Short Story • Charles Raymond Barrett
... to deal with the affairs of state on a larger stage, his methods were still that of the modern journalist. He was always an impressionist, a writer of personal sketches. His character sketches of the Plantagenet princes - of King Henry with his large round head and fat round belly, his fierce eyes, his tigerish temper, his learning, ...
— The Itinerary of Archibishop Baldwin through Wales • Giraldus Cambrensis
... 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 Cezanne ...
— His Masterpiece • Emile Zola
... classic, grand: but the smaller pictures—the lively little bits of colour dotted in here and there—were of that new school which Mr. Smithson affected. They were of that school which is called Impressionist, in which ballet dancers and jockeys, burlesque actresses, masked balls, and all the humours of the side scenes are represented with the sublime audacity of an art which disdains finish, and relies on chic, fougue, chien, flou, v'lan, the inspiration of the moment. Lesbia blushed ...
— Phantom Fortune, A Novel • M. E. Braddon
... was the same. Not a real likeness of the woman, but an impressionist transcript of her salient points. The gray gown and white apron, the thick-rimmed glasses, the parted lips, showing slightly protruding teeth, the plainly parted brown hair, all were the real Julie; ...
— Vicky Van • Carolyn Wells
... Mr. Flack explained to them that it would be idiotic to miss such an opportunity to get something at once precious and cheap; for it was well known that impressionism was going to be the art of the future, and Charles Waterlow was a rising impressionist. It was a new system altogether and the latest improvement in art. They didn't want to go back, they wanted to go forward, and he would give them an article that would fetch five times the money in about five years—which somehow, as he put ...
— The Reverberator • Henry James
... walls with the low gates and narrow windows which seem to relieve the liveliest of the coloured groups against the neutral tints of the North, and how this was intensified when the neutral tints were touched with the positive hue of snow. In the same merely impressionist spirit I would here attempt to sketch some of the externals of the actors in such a scene, though it is hard to do justice to such a picture even in the superficial matter of the picturesque. Indeed it is hard to be sufficiently superficial; ...
— The New Jerusalem • G. K. Chesterton
... of expressiveness of touch, "The Hall with the Four Children," as we may call it, may-stand as a permanent reference on this point. If the picture of the Spanish dancer illustrates, as it seems to me to do, the latent dangers of the Impressionist practice, so this finer performance shows what victories it may achieve. And in relation to the latter I must repeat what I said about the young lady with the flower, that this is the sort of work which, when produced in youth, ...
— Picture and Text - 1893 • Henry James
... pen to paper in the Paris scenes or the Barbizon scene; it was no good; he wrote and often rewrote all the rest; I had the best service from him on the character of Nares. You see, we had been just meeting the man, and his memory was full of the man's words and ways. And Lloyd is an impressionist, pure and simple. The great difficulty of collaboration is that you can't explain what you mean. I know what kind of effect I mean a character to give—what kind of tache he is to make; but how am I to tell my collaborator ...
— The Works of Robert Louis Stevenson - Swanston Edition Vol. 25 (of 25) • Robert Louis Stevenson
... find a woman's club on every corner and not a drop of anything to drink outside of a drug-store. Why aren't you a millionnaire, Sam, with a gallery one hundred by fifty opening into your conservatory, and its centre panels filled with the works of that distinguished impressionist, ...
— The Underdog • F. Hopkinson Smith
... be said in favor of that kind of man. You can trust him when it's a case of grappling with practical difficulties. But I feel quite angry with the next reviewer. 'The illustrations are rather impressionist drawings than a useful guide to identification.' The fellow would no doubt rather have those stiff, colored plates which are about as like the real, breathing creature as a stuffed specimen in ...
— The Long Portage • Harold Bindloss
... or salient points of a scene. Skilful and faithful touches abound, but, as in the case of certain pre-Raphaelite pictures, extreme attention to detail causes him to miss the full scenic effect. He is not sufficiently the impressionist; he cannot suggest—a point in which he presents a strong contrast to Valerius Flaccus. And too many of his incidents, in spite of ingenious variation of detail, are but echoes of Vergil. The foot-race and the archery contest at the ...
— Post-Augustan Poetry - From Seneca to Juvenal • H.E. Butler
... would have shed them, perhaps to be profusely followed by more—he was nearly breaking down—when he looked up and saw on the wall opposite him seven pastiches which he had made in the years gone by. There was a Titian and a George Morland, a Chardin, two cows after Cooper, and an impressionist picture after some Frenchman whose ...
— On Something • H. Belloc
... never yet spoken to Mrs. Arbuthnot, who belonged to one of the various church sets, and who analysed, classified, divided and registered the poor; whereas she and Mellersh, when they did go out, went to the parties of impressionist painters, of whom in Hampstead there were many. Mellersh had a sister who had married one of them and lived up on the Heath, and because of this alliance Mrs. Wilkins was drawn into a circle which was highly unnatural to her, and she had learned to dread pictures. She had to say ...
— The Enchanted April • Elizabeth von Arnim
... and to one another, will join him in worshipping the dead or living nonentities whose laurelled photographs adorn his rooms. He will cover his couches with soft silks, his walls will be hung with impressionist etchings and engravings of undraped ladies of French origin, terra-cotta statuettes principally of the young Apollo, will be placed in every corner, and a marble bust of the young AUGUSTUS will occupy the ...
— Punch, or the London Charivari, Volume 98, March 22, 1890 • Various
... Mr. MIDDLETON MURRY'S book has me baffled. Others perhaps may admire the pains lavished by the author in analysing the emotions of a group of characters whose temperaments certainly give him every opportunity for this exercise. An impressionist, and impressionable, youth, whom I have (reluctantly) to call hero, intrigues his unpleasant way through the plot; first in Paris—where you may make a shrewd guess at his pre-occupations—then in an English village, to which he has eloped with the wife of a friend; in France again, and so ...
— Punch, or The London Charivari, Vol. 152, February 21st, 1917 • Various
... Isopel Berners existed, but the account of her given by Borrow in Lavengro and The Romany Rye is in all probability coloured, just as her stature was heightened by him. If she were taller than he, she must have appeared a giantess. Borrow was an impressionist, and he has probably succeeded far better in giving a faithful picture of Isopel Berners than if he had been photographically ...
— The Life of George Borrow • Herbert Jenkins
... influence of Browning. Whatever was the reason, their correspondence was not of the sort which can be pursued very much by the outside public. Their letters may be published a hundred times over, they still remain private. They write to each other in a language of their own, an almost exasperatingly impressionist language, a language chiefly consisting of dots and dashes and asterisks and italics, and brackets and notes of interrogation. Wordsworth when he heard afterwards of their eventual elopement said with that slight touch of bitterness he always used in speaking of Browning, "So ...
— Robert Browning • G. K. Chesterton
... was obliged to recommend his friends to take a good long walk after lunch, abstaining from reappearing in the rue de la Pompe until nightfall. Sometimes, however, Don Marcelo would unexpectedly present himself in the morning, and then the soulful impressionist would have to scurry from place to place, hiding here, concealing there, in order that his workroom should preserve its ...
— The Four Horsemen of the Apocalypse • Vicente Blasco Ibanez
... which there are plenty, Pavans, Galliards, Allemaines. But look here, this is most important: even in the instrumental pieces the instruments are not to be mixed, as in modern orchestra, but used in groups, always distinct, like patches of colour in impressionist pictures." ...
— Evelyn Innes • George Moore
... Jan are considered by the critics as having founded a special school in the great tradition of Wang Wei. Their paintings were quiet in coloring and were executed with broad strokes in an impressionist style. These works must be viewed from a distance to see their apparent violence merge into extreme elegance. They furnish a complete demonstration of the laws of atmospheric perspective, with its feeling of distance and infinite space, in which forms are immersed. ...
— Chinese Painters - A Critical Study • Raphael Petrucci
... middle-aged baron from Paris who had heard the fishing was good at St. Saviour's, and talked to her of Madrid and Barcelona, of Cordova and Toledo, as one who had seen and known and (he declared) loved them; who painted for her in splashing impressionist pictures the life that still eddied in the plazas and dreamed in the patios, she had been almost carried off her feet with longing; and she nearly gave that longing an expression which would have brought a tragedy, while still her Zoe was only eight ...
— The Judgment House • Gilbert Parker
... shelves, and on the mantelpiece, stood various ornaments. At one end of the procession was a framed oil-painting of a cat's head, at the other end was a head of a beautiful young girl, life-size—called Emmeline, because she looked just about like that—an impressionist water-color. Between the one picture and the other there were twelve or fifteen of the bric-a-brac things already mentioned; also an oil-painting by Elihu Vedder, "The Young Medusa." Every now and then the children required me to construct a romance—always impromptu—not a moment's ...
— Chapters from My Autobiography • Mark Twain
... individualities, even in their acceptance of popular precepts. The virile men of the day love luminosity; it dominates all else, and marks their canvases with light; they restrain the too bold stroke of the radical Impressionist, but outline with firmness, so that details are more easily imagined by the observer, even when an expected delineation is absent. Even the older men, though still under the influence of earlier tradition, show a distinctiveness of style that sets them well apart from their English, ...
— The Jewel City • Ben Macomber
... an impressionist of divine moments, now the miser of all unimportant, trivial detail—is our tyrant, the muse of modern talk. Men talk now not what they feel or think, but what they remember, with their bad good memories. If they remembered ...
— Prose Fancies • Richard Le Gallienne
... experiment with sound waves. I remembered that once in a while some of these wild Bohemian friends of yours warbled post-impressionist love-songs into your phonograph. It stood the strain, and so must be a good one. It is too late now to get one in a shop; will you lend me the whole outfit, with the recording attachment as well, for ...
— The Voice on the Wire • Eustace Hale Ball
... next to Degas, that round-shouldered man in suit of pepper and salt. There is nothing very trenchantly French about him either, except the large necktie; his eyes are small and his words are sharp, ironical, cynical. These two men are the leaders of the impressionist school. Their friendship has been jarred by inevitable rivalry. "Degas was painting 'Semiramis' when I was painting 'Modern Paris,'" says Manet. "Manet is in despair because he cannot paint atrocious pictures like Durant, and be fêted and decorated; he is an artist, not by inclination, ...
— Confessions of a Young Man • George Moore
... dare not touch the sublime naivete of poetry like that! Their impressionist, imagist, futurist theories make them too self-conscious. They say to themselves—"Is that word a 'cliche' word? Has that phrase been used several times before? Have I been carefully and precisely original in this? Is that image clear-cut enough? Have I reverted to the 'magic' ...
— Suspended Judgments - Essays on Books and Sensations • John Cowper Powys
... and assured confidence of a master. By years of patient industry he had wrested from Nature the secrets of her tints and tone values. Quickly there grew into being an exquisitely bright and well balanced drawing, impressionist, but true; a harmony of color and atmosphere. Leaving subtleties to the quiet thought of the studio, he turned to the lake. Here the lights and shadows were bolder. They demanded the accurate appraisement of the half closed eye. He was so absorbed in his task that he was blithely ...
— The Strange Case of Mortimer Fenley • Louis Tracy
... observation. The Goncourts only tell you the things that Gautier leaves out; they find new, fantastic points of view, discover secrets in things, curiosities of beauty, often acute, distressing, in the aspects of quite ordinary places. They see things as an artist, an ultra-subtle artist of the impressionist kind, might see them; seeing them indeed always very consciously with a deliberate attempt upon them, in just that partial, selecting, creative way in which an artist looks at things for the purpose of painting a picture. In order to arrive at their effects, they shrink ...
— Figures of Several Centuries • Arthur Symons
... the tone of the above paragraph is pontifical and its substance a trifle obvious, and am eager to apologize for both. Speaking as an impressionist, I can only say that La Debacle stifles me. And this is the effect produced by all his later books. Each has the exclusiveness of a dream; its subject—be it drink or war or money—possesses the reader as a nightmare possesses the dreamer. For the time this place ...
— Adventures in Criticism • Sir Arthur Thomas Quiller-Couch
... disposition of our sensibility, with no other preoccupation; a quality, an attribute is spontaneously, arbitrarily selected because it impresses us at the given instant—in the final analysis, because it somehow pleases or displeases us. The images of this class have an "impressionist" mark. They are abstractions in the strict sense—i.e., extracts from and simplifications of the sensory data. They act less through a direct influence than by evoking, suggesting, whispering; they permit a glance, a passing glimpse: we ...
— Essay on the Creative Imagination • Th. Ribot
... said that 'he had contrived to put the expression of his own wickedness into the portrait of a nice, kind- hearted girl.' M. Zola, in one of his novels, tells us of a young man who, having committed a murder, takes to art, and paints greenish impressionist portraits of perfectly respectable people, all of which bear a curious resemblance to his victim. The development of Mr. Wainewright's style seems to me far more subtle and suggestive. One can fancy an intense personality being created out of ...
— Selected Prose of Oscar Wilde - with a Preface by Robert Ross • Oscar Wilde
... yarns which are too brilliant can often be made soft and effective by twisting them together with a paler tint. Minute particles of colour brought together in this way are brilliant without crudeness. It is, in fact, the very principle upon which impressionist painters work, giving pure colour instead of mixed, but in such minute and broken bits that the eye confounds them with surrounding colour, getting at the same time the double ...
— How to make rugs • Candace Wheeler
... modern consciousness of which it is the epitome, seems to stand irresolute at a crossways with no signpost. It is hardly conscious of its own indecision, which it manages to conceal from itself by insisting that it is lyrical, whereas it is merely impressionist. The value of impressions depends upon the quality of the mind which receives and renders them, and to be lyrical demands at least as firm a temper of the mind, as definite and unfaltering a general direction, as to be epic. Roughly ...
— Aspects of Literature • J. Middleton Murry
... of worshippers waiting in silence—a silence to be felt. Finally, as the first rays appear, the swelling roar of a single word from tens of thousands of throats: 'Ambah!' It was artistic to follow this picture of life with the gruesome horrors of the ghat. This impressionist style of lecturing is very attractive and must essentially cover a great deal of ground. So we saw Jeypore, Udaipore, Darjeeling, and a confusing number of places—temples, monuments and tombs in profusion, with remarkable pictures of the wonderful ...
— Scott's Last Expedition Volume I • Captain R. F. Scott
... Pissarro and Sisley and not in the vapid niceties of Monet, whose work became thinner and thinner by habitual repetitive painting, and by a possible false sense of security in his argument. Monet had become the habitual impressionist, and the habitual in art is its most conspicuous fatality. The art of Monet grew weaker throughout the various stages of Waterloo, Venice, Rouen, Giverney, and the Water Lilies which formed periods of expression, at least to the mind of the observer. ...
— Adventures in the Arts - Informal Chapters on Painters, Vaudeville, and Poets • Marsden Hartley
... Dama Errante is not of the sort that lives very long; it is not a painting with aspirations towards the museum but an impressionist canvas; perhaps as a work it has too much asperity, is too hard, not ...
— Rosinante to the Road Again • John Dos Passos
... figures—indeed, any effect of line whatever-and there was only the color of bodices past counting, the shimmer of fabrics soft and firm, silky and sheer: red, mauve, pink, blue, lilac, purple, ecru, rose, yellow, cream, and white, all the colors that an impressionist finds in a sunlit landscape, with here and there the dead shadow of a frock coat. My Aunt Georgiana regarded them as though they had been so many daubs of tube-paint ...
— The Troll Garden and Selected Stories • Willa Cather
... shouldn't. They finally arrived at Mrs. Adams's private and particular sitting-room, a place that may be said, in the main, to stand as a protest against the rule of the ancient philosopher, being all pink and flimsy and fragile with precious vases and two post-impressionist pictures (a green apple tree one, the other a brown woman), and lace cushions and blue bowls with rose leaves in them. Barbara had never been into this room before, nor had she ever in all her seven years seen ...
— The Golden Scarecrow • Hugh Walpole
... a beautiful valley on the left, as one goes from Amiens to Albert: one looked down into it from the road, a patchwork of greens, browns, greys and yellows. I remember John Masefield said one day it looked to him like a post-impressionist table-cloth; later, white zigzagging lines were cut all ...
— An Onlooker in France 1917-1919 • William Orpen
... degenerate days. It was very quietly decorated with delicate colours, and a few etchings and many flowers; and Dolores herself came from behind her writing desk, smiling and blushing, to meet her tall visitor. The old soldier scanned her as he would have scanned a new recruit, and the result of his impressionist study was to his mind highly satisfactory. He already ...
— The Dictator • Justin McCarthy |
