Editing Impressionism (section)

== Associates and influenced artists ==
[[File:Vangoghmuseum-s0277V1962-800.jpg|thumb|left|[[Victor Vignon|Victor Alfred Paul Vignon]], ''Woman in a Vineyard'', c. 1880, [[Van Gogh Museum]]]]

[[File:James Abbot McNeill Whistler 012.jpg|thumb|upright|[[James Abbott McNeill Whistler]], ''[[Nocturne in Black and Gold: The Falling Rocket]]'', 1874, [[Detroit Institute of Arts]]]]

Among the close associates of the Impressionists, [[Victor Vignon]] is the only artist outside the group of prominent names who participated to the most exclusive Seventh Paris Impressionist Exhibition in 1882, which was indeed a rejection to the previous less restricted exhibitions chiefly organized by Degas. Originally from the school of [[Corot]], Vignon was a friend of [[Camille Pissarro]], whose influence is evident in his impressionist style after the late 1870s, and a friend of post-impressionist [[Vincent van Gogh]].

There were several other close associates of the Impressionists who adopted their methods to some degree. These include [[Jean-Louis Forain]], who participated in Impressionist exhibitions in 1879, 1880, 1881 and 1886,<ref>{{cite web|url=http://www.culture.gouv.fr/documentation/joconde/fr/decouvrir/expositions/impressionnisme/theme_imprart.htm|title=Joconde : catalogue collectif des collections des musées de France|website=www.culture.gouv.fr|access-date=2017-12-28|archive-date=28 December 2017|archive-url=https://web.archive.org/web/20171228172700/http://www.culture.gouv.fr/documentation/joconde/fr/decouvrir/expositions/impressionnisme/theme_imprart.htm|url-status=dead|lang=French}}</ref> and [[Giuseppe De Nittis]], an Italian artist living in Paris who participated in the first Impressionist exhibit at the invitation of Degas, although the other Impressionists disparaged his work.{{sfnp|Denvir|1990|p=152}} [[Federico Zandomeneghi]] was another Italian friend of Degas who showed with the Impressionists. [[Eva Gonzalès]] was a follower of Manet who did not exhibit with the group.

[[James Abbott McNeill Whistler]] was an American-born painter who played a part in Impressionism although he did not join the group and preferred grayed colours. [[Walter Sickert]], an English artist, was initially a follower of Whistler, and later an important disciple of Degas. He did not exhibit with the Impressionists. In 1904, the artist and writer [[Wynford Dewhurst]] wrote the first important study of the French painters published in English, ''Impressionist Painting: its genesis and development'', which did much to popularize Impressionism in Great Britain.

By the early 1880s, Impressionist methods were affecting, at least superficially, the art of the Salon. Fashionable painters such as [[Jean Béraud]] and [[Henri Gervex]] found critical and financial success by brightening their palettes while retaining the smooth finish expected of Salon art.{{sfnp|Rewald|1973|pp=476–477}} Works by these artists are sometimes casually referred to as Impressionism, despite their remoteness from Impressionist practice.

The influence of the French Impressionists lasted long after most of them had died. Artists like [[Jesekiel David Kirszenbaum|J.D. Kirszenbaum]] were borrowing Impressionist techniques throughout the twentieth century.