D. S. Eaton asserts that in the Salon of 1867, there was exhibited a picture by Monet which was entitled Impressions,[f] and from this arose the word "Impressionist"; but Phythian says that the word resulted from Monet's "Impression, soleil levant," exhibited in 1874 at the Nadar Gallery in Paris with other works from Le Société Anonyme des Artistes, Peintres, Sculpteurs, et Graveurs. Phythian adds[g]:
Thus, unwittingly led by one of the exhibitors, visitors to the exhibition came to use the word "impressioniste," and within a few days a contemptuously unfavourable notice of the exhibition appeared in _Le Charivari_ under the heading "Exposition des Impressionistes." It was not until the lapse of several years that the name came into general use. The painters to whom it was applied disowned it because it was used in a depreciatory sense. Eventually however, unable to find a better one, they adopted it.
Another origin of Impressionism is given by Muther. He says[h]:
The name "Impressionists" dates from an exhibition in Paris which was given at Nadar's in 1871. The catalogue contained a great deal about impressions--for instance, "Impression de mon pot au feu," "Impression d'un chat qui se promene." In his criticism Claretie summed up the impressions, and spoke of the Salon des Impressionistes.
But the real origin of impressionism must be sought earlier than 1871, for in 1865 Manet exhibited his Olympia in the Salon des Refusés. This picture did not represent what was understood as impressionism ten years later, but it led the way towards the establishment of the innovation, in that it pretended that healthy ideas and noble designs were secondary considerations in art. Certainly Manet could not descend lower than this wretched picture, and in this sense his subsequent work was a distinct advance.
[b] Article on "Impressionism," _Encyclopædia Britannica_, 11th Edition.
[c] _L'Impressionism, son histoire, son esthétique, ses maîtres._
[e] Article on "Impressionism," _Encyclopædia Britannica_, 11th edition.
[f] _Handbook of Modern French Painting._
[h] _History of Modern Painting_, vol. iii.
The reason given by impressionists for the juxtaposition of pure colours is that the natural blend produced is more brilliant than the tone from the mixed colours applied, but it is pointed out by Moreau-Vauthier that the contrary is the case. He says[a]: