Knowing that I love the impressionist works, I found myself thinking.
Let me name a few. In order of seniority: A. 1814 Renoir, C. Pisarro 1830, E. Degas 1834, A. 1839 Sisley, C. Monet 1840 .... and there 
pooooi E. Manet 1832. But because I put after Manet dot dot dot? First things first. Bearing in mind that I studied in a manual of all respect as the De Vecchi Cerchiari, other related texts of other teachers who do not are the last to arrive, I noticed that I am no one, a bit 'of confusion on this movement and its protagonists, but rather confusion is perhaps rather different point of view. So now I say mine too, for the same speech that you like it or not I also have the right to speak my mind. My reflection is very simple. Follow me, look at the dates and names. So: did the Impressionists 8 independent official Salon exhibitions from 1874 to 1886. In 1873 Pissarro proposes a corporation to protect the interests and survival of those who were not aligned with the academic style of the salons. In addition to joining the Company he obviously Monet, Renoir, Sisley, Degas, Guillaumin and the Morrisot . Manet (the Olympus and Breakfast on the grass to be clear, which I was a wee bit haughty) looks at them from afar and says good pretty good idea, I support fully, however I do not agree with. You know why? Because they had accepted a year and a watercolor painting at the Salon, and in later years was the only one that for better or worse with one or two works at the Salon if he drew. I think it was one that said 'well if I accepted at the Salon, otherwise I do it myself, let me work!' There. Even when the painting of 1875 is not accepted and a scandal he says 'if you want to come and see it's in my house'. Now say you could not put it with your other fellow impressionists? No. It should be Well ... Anyway back to my speech. Any art history text mentions you as the only true impressionists Degas, Monet and Renoir. And hand in hand 
took notes widened my doubt. Renoir've got it this right? Luncheon of the Boating (1881, the first image in the side), ok he is there between the Impressionists for sure. Monet Bridge at Argenteuil 1874 or all series of the Rouen Cathedral and the water lilies ... one that is able to ennoble even the Poplars ! We do not want? He is all around us I think. But .... DEGAS! .. (I wish now to point out that the end is what I like best) ... Let's talk about Degas. Maybe from here on some historical shiver of art, or some professor I mouths in my trunk ... but bear with me: Degas this bourgeois Parisian Montmartre, which said no art is less spontaneous than mine, who strongly believed in the laying of the subject to be able to build at will, which never had the problem of how to strengthen the form because he was born as realistic painter always used the precise design , who always preferred the plein air study conducted from memory and with the help of photography, that the few times he painted landscapes and outside it was only because he liked the horses ... Degas in short, I repeat that for me is the best because of all those reasons listed above, why do you have to put between the Impressionists? If contradicts virtually all the conditio-sine-qua-non to be impressed? Why? Because I know them? Because in 1871 he followed Monet at Argenteuil? (Where the coincidence of the subject with his friend Monet? But the canvas is visible that each of the two of them still remained in his personal style different from the other). Why, I'll tell you why, maybe I figured: why in the whole series of exhibitions is the only impressionist Pissarro, together with that from beginning to end there except that a 82! Want proof? Taking only the 4 most important names that interest us: 1st, 2nd and 3rd expo Degas, Pissarro, Monet, Renoir, Pissarro 4 ° Degas, Monet, 5th and 6th Degas, Pissarro, Renoir, Monet, Pissarro 7 th, 8 th Degas, Pissarro (Monet, Renoir and Sisley in the latter refuse to expose the presence of Seurat). So what does this mean? What Degas, although it was not the 'same thing' the other an impressionist plein air, exposing the same to them anyway because he felt the contents remain similar in different ways, and instead the unpleasant Manet, however, that he had gone to Argenteuil so just to try and then he returns to his studio (just as Degas), never wanted to be 'confused' with them. Who do you want? But stay at home! And do not come to Agenteuil to spy on us! So Pissarro? He, too, there was in all exposures, the Company has given him all, and yet when it comes to impress his name, to the great mass, those of hearsay does not show up like that of Manet. So what do I conclude? And from here on, sorry but I am keen about. Manet not want / want / wanted to be confused with the Impressionists? Ok do not worry. Outside one. Degas did not paint en plein air, out of two. Pissarro do not know why, but if you do not study history of serious 
catkins do not remember anyone, and out 3. Sisley 4esposizoni was only about 8 or even all in a row, and his name does the same Pissarro's fine, but at this point it makes more sense for him to Pissarro. Berthe Morrisot (left: 1879 Young woman) is in all aspects is one of the best but you say and who is it? Never heard of it, perhaps because only women, but more so for this reason his name should stand out completely over time in the history of Impressionism, and yet the fact is that out of four. In short, those who remain of these famous Impressionists? Monsieur Pierre-Auguste Renoir . Sneaking is the only survivor of the massacre in the crossfire between speculation and official texts. I repeat that are not so speculate why these things, including how things went we read the texts and then what comes to ordinary people of so much artistic skill, you can sadly conclude you is very little. Renoir, the son of a tailor, that he is not exposed in all aspects, then down to '81' change direction 'after trip to Italy, and at the end of his days in a wheelchair with his brush painting attached to the forearm due to the dev 
bystander arthritis, in my opinion is the only real impressed if we refer to the initial list. All this ends: Sire Impressionist Impressionist Renoir is (for the plein air), Degas legitimately represents the equal and opposite direction to the interior. Degas (that you see on the right) that comes from mythology and history painting with the young Spartans to contemporary and everyday ironing and dancers, is in my opinion, the venerable master father in those years, the most complete and
pooooi E. Manet 1832. But because I put after Manet dot dot dot? First things first. Bearing in mind that I studied in a manual of all respect as the De Vecchi Cerchiari, other related texts of other teachers who do not are the last to arrive, I noticed that I am no one, a bit 'of confusion on this movement and its protagonists, but rather confusion is perhaps rather different point of view. So now I say mine too, for the same speech that you like it or not I also have the right to speak my mind. My reflection is very simple. Follow me, look at the dates and names. So: did the Impressionists 8 independent official Salon exhibitions from 1874 to 1886. In 1873 Pissarro proposes a corporation to protect the interests and survival of those who were not aligned with the academic style of the salons. In addition to joining the Company he obviously Monet, Renoir, Sisley, Degas, Guillaumin and the Morrisot . Manet (the Olympus and Breakfast on the grass to be clear, which I was a wee bit haughty) looks at them from afar and says good pretty good idea, I support fully, however I do not agree with. You know why? Because they had accepted a year and a watercolor painting at the Salon, and in later years was the only one that for better or worse with one or two works at the Salon if he drew. I think it was one that said 'well if I accepted at the Salon, otherwise I do it myself, let me work!' There. Even when the painting of 1875 is not accepted and a scandal he says 'if you want to come and see it's in my house'. Now say you could not put it with your other fellow impressionists? No. It should be Well ... Anyway back to my speech. Any art history text mentions you as the only true impressionists Degas, Monet and Renoir. And hand in hand 
took notes widened my doubt. Renoir've got it this right? Luncheon of the Boating (1881, the first image in the side), ok he is there between the Impressionists for sure. Monet Bridge at Argenteuil 1874 or all series of the Rouen Cathedral and the water lilies ... one that is able to ennoble even the Poplars ! We do not want? He is all around us I think. But .... DEGAS! .. (I wish now to point out that the end is what I like best) ... Let's talk about Degas. Maybe from here on some historical shiver of art, or some professor I mouths in my trunk ... but bear with me: Degas this bourgeois Parisian Montmartre, which said no art is less spontaneous than mine, who strongly believed in the laying of the subject to be able to build at will, which never had the problem of how to strengthen the form because he was born as realistic painter always used the precise design , who always preferred the plein air study conducted from memory and with the help of photography, that the few times he painted landscapes and outside it was only because he liked the horses ... Degas in short, I repeat that for me is the best because of all those reasons listed above, why do you have to put between the Impressionists? If contradicts virtually all the conditio-sine-qua-non to be impressed? Why? Because I know them? Because in 1871 he followed Monet at Argenteuil? (Where the coincidence of the subject with his friend Monet? But the canvas is visible that each of the two of them still remained in his personal style different from the other). Why, I'll tell you why, maybe I figured: why in the whole series of exhibitions is the only impressionist Pissarro, together with that from beginning to end there except that a 82! Want proof? Taking only the 4 most important names that interest us: 1st, 2nd and 3rd expo Degas, Pissarro, Monet, Renoir, Pissarro 4 ° Degas, Monet, 5th and 6th Degas, Pissarro, Renoir, Monet, Pissarro 7 th, 8 th Degas, Pissarro (Monet, Renoir and Sisley in the latter refuse to expose the presence of Seurat). So what does this mean? What Degas, although it was not the 'same thing' the other an impressionist plein air, exposing the same to them anyway because he felt the contents remain similar in different ways, and instead the unpleasant Manet, however, that he had gone to Argenteuil so just to try and then he returns to his studio (just as Degas), never wanted to be 'confused' with them. Who do you want? But stay at home! And do not come to Agenteuil to spy on us! So Pissarro? He, too, there was in all exposures, the Company has given him all, and yet when it comes to impress his name, to the great mass, those of hearsay does not show up like that of Manet. So what do I conclude? And from here on, sorry but I am keen about. Manet not want / want / wanted to be confused with the Impressionists? Ok do not worry. Outside one. Degas did not paint en plein air, out of two. Pissarro do not know why, but if you do not study history of serious 
catkins do not remember anyone, and out 3. Sisley 4esposizoni was only about 8 or even all in a row, and his name does the same Pissarro's fine, but at this point it makes more sense for him to Pissarro. Berthe Morrisot (left: 1879 Young woman) is in all aspects is one of the best but you say and who is it? Never heard of it, perhaps because only women, but more so for this reason his name should stand out completely over time in the history of Impressionism, and yet the fact is that out of four. In short, those who remain of these famous Impressionists? Monsieur Pierre-Auguste Renoir . Sneaking is the only survivor of the massacre in the crossfire between speculation and official texts. I repeat that are not so speculate why these things, including how things went we read the texts and then what comes to ordinary people of so much artistic skill, you can sadly conclude you is very little. Renoir, the son of a tailor, that he is not exposed in all aspects, then down to '81' change direction 'after trip to Italy, and at the end of his days in a wheelchair with his brush painting attached to the forearm due to the dev 
bystander arthritis, in my opinion is the only real impressed if we refer to the initial list. All this ends: Sire Impressionist Impressionist Renoir is (for the plein air), Degas legitimately represents the equal and opposite direction to the interior. Degas (that you see on the right) that comes from mythology and history painting with the young Spartans to contemporary and everyday ironing and dancers, is in my opinion, the venerable master father in those years, the most complete and independent of all good company.
So it is decided, the hearing was closed.
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