They painted in colour tones distributed in blobs, and it was the tone which gave a feeling of depth. The first piece of art to inspire the critical nickname "impressionism" was Claude Monet's piece "Impression: Sunrise," a piece that was presented at the first exhibition in Critic and humorist Louis Leroy wrote a scathing review in the newspaper Le Charivari in which, making wordplay with the title of Claude Monet's Impression, Sunrise Impression, soleil levanthe gave the artists the name by which they became known.
It was a way of observing the city, the suburbs, and the countryside as mirrors of the modernization that each of these artists perceived and wanted to record from their point of view.
From the s several artists began to develop different precepts for the use of colour, pattern, form and line, derived from the Impressionist example: Vincent Van Gogh, Paul Gauguin, Georges Seurat and Henri de Toulouse-Lautrec.
Conservative painter Joseph Vincent was quoted in a review in increasingly sarcastic ways, calling Monet's work "not as finished as wallpaper. They abandoned traditional linear perspective and avoided the clarity of form that had previously served to distinguish the more important elements of a picture from the lesser ones.
A number of identifiable techniques and working habits contributed to the innovative style of the Impressionists. While the Salon jury routinely accepted nudes in historical and allegorical paintings, they condemned Manet for placing a realistic nude in a contemporary setting.
Technically, these characteristics often result from a static use of harmony, ambiguous tonality, a lack of sharp formal contrasts and of onward rhythmic drive, and a blurring of the distinction between melody and accompaniment.
During that time they continued to develop their own personal and individual styles. His depiction of pedestrians in his city scene "Boulevard des Capucines"in which the people are distorted into mere black dabs, echoes exactly the effects found in contemporary photographs taken on glass plates, which tend to blur moving forms.
Giovanni Boldini was one of the most audacious of the Macchiaioli.