Abstract
In his Social History of Art Arnold Hauser claims that “Impressionism is the last valid European Style.” 1 A reappraisal of such a statement is in order, for it is essential to understand the method and goal of Impressionism before one can accept Hauser’s statement.
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Notes
Arnold Hauser, The Social History of Art, vol. 4 (New York: Vintage Books), p. 175.
René Huyghe, Impressionism (Secausus, N.J.: Chartwell Books, 1973), p. 6.
Ibid., pp. 7–8.
Cézanne in ibid., p. 28.
Edmund Husserl, Méditations cartésiennes, trans. Gabrielle Peiffer and Emmanuel Levinas (Paris: Vrin, 1966), p. 28.
Alain Robbe-Grillet, ‘Nature, humanisme, tragédie,’ in Pour un Nouveau Roman (Paris: Gallimard, 1963), p. 26.
Maurice Merleau-Ponty, Phénoménologie de la perception (Paris: Gallimard, 1945), p. iv.
Ferdinand Brunetière, Le Roman naturaliste (Paris: Lévy, 1893), p. 88.
Charles Bally, El Impresionismo en el lenguaje, vol. 2 (Buenos Aires: Colleción de Estudios Estilísticos, 1936), p. 73.
In Lionello Venturi, ‘The Aesthetic Idea of Impressionism,’ Journal of Aesthetics and Art Criticism 1 (Spring 1961):44.
Merleau-Ponty, Phénoménologie, pp. ii–iii.
Félix Fénéon, in Impressionism, p. 275.
Nathalie Sarraute, Tropisms, trans. Maria Jolas (New York: George Braziller, 1967), p. vi.
Ibid., p. vii.
Vivian Mercier, The New Novel: From Queneau to Pinget (New York: Farrar, 1971),
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Carrabino, V. (1984). The French Nouveau Roman: The Ultimate Expression of Impressionism. In: Tymieniecka, AT. (eds) The Existential Coordinates of the Human Condition: Poetic — Epic — Tragic. Analecta Husserliana, vol 18. Springer, Dordrecht. https://doi.org/10.1007/978-94-009-6315-3_20
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