Luxembourg Gallery has enabled the public to form a summary idea of
Impressionism. To conclude the enumeration of the obstacles, it must be
added that there are hardly any photographs of Impressionist works in
the market. As it is, photography is but a poor translation of these
canvases devoted to the study of the play of light; but even this very
feeble means of distribution has been withheld from them! Exhibited at
some galleries, gathered principally by Durand-Ruel, sold directly to
art-lovers--foreigners mostly--these large series of works have
practically remained unknown to the French public. All the public heard
was the reproaches and sarcastic comments of the opponents, and they
never became aware that in the midst of modern life the greatest, the
richest movement was in progress, which the French school had known
since the days of Romanticism. Impressionism has been made known to them
principally by the controversies and by the fruitful consequences of
this movement for the illustration and study of contemporary life.

[Illustration: MANET

REST]

I do not profess to give here a detailed and complete history of
Impressionism, for which several volumes like the present one would be
required. I shall only try to compile an _ensemble_ of concise and very
precise notions and statements bearing upon this vast subject. It will
be my special object to try and prove that Impressionism is neither an
isolated manifestation, nor a violent denial of the French traditions,
but nothing more or less than a logical return to the very spirit of
these traditions, contrary to the theories upheld by its detractors. It
is for this reason that I have made use of the first chapter to say a
few words on the precursors of this movement.