between van gogh and monet who started the impression
The White Orchard, 1888 (Van Gogh Museum, Amsterdam), Farms near Auvers, 1890 (Tate, London), Daubigny’s Garden, 1890 (Collection Rudolf Staechelin).
Nowadays, the general public know little about Charles-François Daubigny (1817-1878), if anything at all. But in his day, the French artist was famous. Daubigny was a celebrated and influential artist, acclaimed for his landscapes. His idiosyncratic interpretations of nature were an innovation; his canvases were true open-air impressions.
Seurat’s style is defined by small dots of color that appear more separate when viewed close-up but blend into a cohesive image as the viewer pulls back. Seurat developed this style along with painter Paul Signac.
Painters like James Whistler and Winslow Homer brought Impressionism to America following their European travels. Whistler particularly took the lessons of the Japanese influence on Impressionism to heart, while Homer embraced the lessons of light and color but preferred strong outlines, often focusing on his favorite subject, the sea.
By 1886, the Paris gallery for which Theo worked had been renamed Boussod, Valadon & Cie, following the retirement of its founder Adolphe Goupil. The new management looked more favourably on recent developments in painting, and Theo was permitted to purchase a small number of paintings by the leading Impressionists. Only one of these, a canvas by Sisley, was still in the gallery when Van Gogh arrived in Paris. At this stage Theo did not, it seems, have any direct personal contact with the Impressionist painters.
Van Gogh’s first extensive exposure to Impressionist paintings came at two exhibitions in the spring and summer of 1886: the eighth and final Impressionist group exhibition, which ran from mid-May to mid-June, and the fifth Exposition Internationale organized by the dealer Georges Petit, from mid-June to mid-July. At the former, he would have seen recent pastels of bathing women by Edgar Degas, together with the first appearance of Neo-Impressionist works, executed in small ‘points’ of varied colour, by Georges Seurat, Paul Signac, Pissarro and others. Petit’s show included recent works by Pierre-Auguste Renoir and Monet. Van Gogh’s later memory of these initial experiences shows just how difficult he found it to assimilate modes of painting that were so startlingly different from anything he had seen before. A year later, he wrote to his sister Willemien: ‘people have heard of the Impressionists, they have great expectations of them. and when they see them for the first time they are bitterly, bitterly disappointed and find them careless, ugly, badly painted, badly drawn, bad in colour, everything that’s miserable. That was my first impression, too, when I came to Paris [. ].’ However, by the autumn of 1886 Van Gogh was beginning to find some value in their work, writing to the English painter Horace Mann Livens: ‘In Antwerp I did not even know what the Impressionists were, now I have seen them and though not being one of the club, yet I have much admired certain Impressionist pictures – Degas, nude figure – Claude Monet, landscape.’ In the same letter, he also wrote of having the chance, once more, to study the work of Eugene Delacroix.
He wrote, in the form of a dialog between viewers,
New technology played a role in the development of the style. Impressionists took advantage of the mid-century introduction of premixed paints in tin tubes (resembling modern toothpaste tubes), which allowed artists to work more spontaneously, both outdoors and indoors.  Previously, painters made their own paints individually, by grinding and mixing dry pigment powders with linseed oil, which were then stored in animal bladders. 
Monet’s technique of painting outdoors, known as plein air painting, was practiced widely among the Impressionists. Inherited from the landscape painters of the Barbizon School, this approach led to innovations in the representation of sunlight and the passage of time, which were two central motifs of Impressionist painting. While Monet is largely associated with the tradition of plein air, Berthe Morisot, Camille Pissarro, John Singer Sargent, and Alfred Sisley, and others, also painted outside in order to create their lucid portrayals of the transience of the natural world.
Г‰douard Manet was among the first and most important innovators to emerge in the public exhibition scene in Paris. Although he grew up in admiration of the Old Masters, he began to incorporate an innovative, looser painting style and brighter palette in the early 1860s. He also started to focus on images of everyday life, such as scenes in cafГ©s, boudoirs, and out in the street. His anti-academic style and quintessentially modern subject matter soon attracted the attention of artists on the fringes and influenced a new type of painting that would diverge from the standards of the official salon. Similar to Le dГ©jeuner sur l’herbe, his other works such as Olympia (1863) gave the emerging group ideas to depict that were not previously considered art worthy.