ectives at the time for the chief reason that such fashion rendered works that were ‘rushed’ or that appeared to be lacking and only partly accomplished due to flexible use of brushstrokes in generating light and color which contrasted the patterns of conventionally applied rigid lines.
Eventually, Impressionists like Monet, Degas, and Renoir were understood and have become recognized to this day on the basis of their purpose – that is to come up with an object or piece that creates a fleeting instant of impression as readily perceived through the naked sense of sight. Hence, majority of such artists participated in Salon de Refuses and worked in open spaces as streets where ‘plain air’ governs perception of the visual elements of nature unlike the effects formed within studio’s closed confines. With the natural concept of lighting, landscapes and other scenic spots which an Impressionist paints outdoor have gradually established innovation, bearing influence to modern art and latter movements which sought basic inspiration from even the contradicting principles of Impressionism. As such, there emerged Neo-Impressionists who greatly considered the value of Pointillism and formless construction while there were also others who expressed criticism against the absence of stroke direction and order of color.
Paul Cézanne’s “The Card Players” is one piece that illustrates an Impressionist notion of reflecting transient impact of light and color whereby the balanced weight allocated between its concrete and abstract visuals and the overall vividness reduces ephemeral effect. Moreover, the value of symmetry is exhibited by the bottle situated between the card players and this depicts fair distribution of order among the significant objects in space. The two men who face each other over the table in equivalent positions and some degree of contrasting shades occur to provide a view of equilibrium. Their solid forms which defy the painting’s abstract