Limpressionnisme et maupassant biography

Amazon.com: Maupassant (1850-1893): Maupassant et l'Impressionisme, Maupassant, une vie, des œuvres: Musées municipaux de Fécamp, 22 mai-22 juillet 1993.
On the other, he professes his belief in writers such as Zola and Maupassant, capable of making the reader see, hear and feel.
But Lethaby's style has a depth that makes it impossible to imitate.

•

Eugène Lepoittevin

French painter (1806–1870)

Eugène Lepoittevin
Portrait by Charles Baugniet, 1838^[1]
Born	Eugène Modeste Edmond Poidevin (1806-07-31)31 July 1806 Paris, France
Died	6 August 1870 (1870-08-07) (aged 64) Paris, France
Other names	Variants include Eugène Modeste Edmond Poidevin, Eugène Le Poitevin, Eugène Lepoittevin, Eugène Le Poittevin, Édouard Le Poittevin, E. Lepoittevin.^[2]
Education	École des Beaux-Arts; Louis Hersent; Auguste Xavier Leprince
Occupation(s)	painter; lithographer; caricaturist.
Known for	Marine art; History painting; Erotica
Works	Charges et décharges diaboliques, 1830 (censored and ordered destroyed in 1846); Les Bains de Mer, Plage d’Étretat, 1864
Title	Peintre de la Marine, 1849
Awards	Knight of the Legion of Honor, 1843; Knight of the Order of Leopold, 1845

Eugène Lepoittevin (31 July 1806 – 6 August 1870), also known as Poidevin, Poitevin, and Le Poittevin,^[2] was a French artist who achieved an early and lifelong su

•

Art-Critics

Meta-Impressionism:

journals and magazines

vehicles to become known

Introduction:
An important way of becoming known as an artist, was to be reviewed by art-critics, preferably in positive reviews. This also was the case for the partakers of the ‘impressionist’ expositions. To be ignored was the first step into oblivion. Of course these art-critics were related to journals and magazines, some of them more conservative, others more avant-garde.
Several art-critics defended the ‘impressionists’, like Alexis, Burty, Castagnary, Champfleury, Duranty, Geffroy, Huysmans, Mallarmé, Mirbeau, Rivière and Silvester. The impressionists were befriended with some of them and they met in Café Guerbois and Café Nouvelles Athènes and other meeting places. Some also wrote prefaces for exhibition catalogues or auction sales or even biographies. Other art-critics were important opponents of the ‘impressionists’.
I will mention all the known reviews on the 8 ‘impressionist’ expositions, as well the name of

•

4. Highlights in the scandinavian debate on Literary Impressionism

1To prove impressionism’s all but homogeneous connections with Scandinavian literature, I will now concentrate on three moments involving significant actors on the late nineteenth-century literary scene as well as highly divergent views on the relationship between impressionism and literature. An overview of Herman Bang’s poetics of impressionism will be put forward; firstly through an examination of both early and present-day critical reactions to his prose and, secondly, through the scrutiny of the writer’s own reflections on the impressionist revision of narrative traditions.

2Next, I will look at how the definition ‘impressionists’, in the the meaning of «independents», «falangists», and «revolutionaries» (Brummer 2002: 77), lived on in Hans Jæger’s and Christian Krohg’s use of term in the second half of the 1880s and in the radical bohemian social milieu in the Norwegian capital. In addition, I will also consider Jæger’s interpretation of the term as a subjective turn of naturalism, which connects to