First published in 1984. The late nineteenth and early twentieth centuries represent not only era of rapidly changing artistic methods but a crucial evolution in art criticism. This book gathers together a wide-range of the criticism that greeted the work of the Impressionists artists in the English Press. The selected examples of praise and antagonism reflect the sentiments expressed in the comments of prominent newspaper and periodical critics. The selection shows the importance of Impressionist art to English art criticism and wide comprehension of the formal qualities in painting. It also demonstrates how forward-looking critics created new criteria for the discussion of modern painting.

First published in 1984. The late nineteenth and early twentieth centuries represent not only era of rapidly changing artistic methods but a crucial evolution in art criticism. This book gathers together a wide-range of the criticism that greeted the work of the Impressionists artists in the English Press. The selected examples of praise and antagonism reflect the sentiments expressed in the comments of prominent newspaper and periodical critics. The selection shows the importance of Impressionist art to English art criticism and wide comprehension of the formal qualities in painting. It also demonstrates how forward-looking critics created new criteria for the discussion of modern painting.

First published in 1984. The late nineteenth and early twentieth centuries represent not only era of rapidly changing artistic methods but a crucial evolution in art criticism. This book gathers together a wide-range of the criticism that greeted the work of the Impressionists artists in the English Press. The selected examples of praise and antagonism reflect the sentiments expressed in the comments of prominent newspaper and periodical critics. The selection shows the importance of Impressionist art to English art criticism and wide comprehension of the formal qualities in painting. It also demonstrates how forward-looking critics created new criteria for the discussion of modern painting.