The Foundations of the Impressionist Artistic Movement (1874 – 1886) of the 19th Century: The Artist Who Helped Maintain Impressionism During the 19th Century, the 8 Art Exhibitions Which Permanently Changed Art, the Only Artist to Appear in All 8 Impressionist Exhibitions, the Family Business of U.S. Virgin Islands Artist Camille Pissarro, Jewish Artists Becoming Well Renowned Post Pissarro’s Debut, the Reason Jewish Artists Were Relatively Unknown Prior to Pissarro, the Reason Jewish Synagogues Have No Paintings or Sculpture, the Reason French Merchant Frederick Abraham Gabriel Pissarro (Pissarro’s Father) Returned to the Virgin Islands, the Person Frederick Abraham Gabriel Pissarro Became Romantically Attracted to During the 1830’s, the Jewish Clergy Disapproving of Frederick Abraham Gabriel Pissarro’s Decisions, Pissarro’s Family Departing From the Jewish Faith, Camille Pissarro Drawing Constantly Post Departing From Judaism, the Person Pissarro Married in 1871, the Person Pissarro’s Marriage Enraged and the Causation of Pissarro’s Severed Economic Inheritance, the Method Utilized to Manufacture Oil Paints From the 1st Century B.C. – 19th Century, the Advent of the Collapsable Tin Paint Tube, the Benefits of Collapsible Tin Paint Tubes for Artists During the 19th Century, Pissarro Migrating to Paris, France in 1855, the Location French Artist Pierre Auguste Renoir Was Born, How Renoir Learned to Paint, Renoir Working Within Ceramics as an Adolescent, Renoir Becoming Highly Successful at Ceramics Manufacturing During Adolescence, Porcelain Painting vs Canvas Painting, the Size of Paris During the Impressionist Period of the 19th Century, the Reason Many Infants Born During the 19th Century Were Considered Illegitimate, the Location French Artist Claude Monet Was Born, the Beginning of Monet’s Art Career, the Reason Monet Was Able to Rapidly Generate Income From Artwork, Monet Becoming Enamored With the Idea of Becoming an Artist, the Process to Become an Artist Within Paris During the 19th Century, the Catalyst for the Development of Impressionism, Educational Institutions Designed to Circumvent the Paris Salon System of Art During the 19th Century, the Advent of the Ferrule (Paint Brush Metallic Bristle Sleeve), the Traditional Method Utilized Prior to the Advent of the Ferrule, the Benefits the Ferrule Had Upon Art, the Number of Users Required to Operate Traditional Easels, the Advent of the Jullian French Box Easel (Travel Easel) (Boîte Chevalet) (Box Easel), One of the Greatest Impressionist Artists During the 19th Century, the Death of French Artist Frédéric Bazille Prior to the Development of the Impressionist Movement, How Bazille Met Monet and Renoir, the Persons Who Provided Bazille an Economic Stipend, Monet and Renoir Benefiting From Bazille’s Familial Wealth, Bazille Suggesting the Development of Organization of Similar Artists, Bazille and Monet Painting Double Life Sized Portraits in 1865, One of the Most Difficult Aspects of Painting Within Natural Light, the Physical Size of the Luncheon On the Grass Work Created by Bazille and Monet, the Total Economic Cost to Produce the Luncheon On the Grass Work, the Luncheon on the Grass Work Falling Into Ruin Outside of Monet’s Care, Monet Attempting Smaller Life Sized Artwork in 1866, One of the Most Difficult Aspects Whilst Developing Large Pieces of Artwork, Monet’s Method to Alleviate This Problem, the Conflict Camille Pissarro Fled From in 1870, the Prussian Military Easily Over Powering the French Military During the Franco Prussian War (1870 – 1871), Camille Pissarro Returning Home to Find His Home and Artwork Destroyed, the Location Camille Pissarro Restarted His Life and Founded the Société Anonyme des Artistes Peintres Sculpteurs et Graveurs (Anonymous Society of Artists Painters Sculptors and Engravers), the System of Rules Camille Pissarro Developed for the Société Anonyme des Artistes Peintres Sculpteurs et Graveurs, the Bakers of Pontoise, France Granted Charter by French King Louis VII, the Bakers of Pontoise Helping to Launch the French Revolution (1789 – 1799) and the Paris Commune, the Société Anonyme des Artistes Peintres Sculpteurs et Graveurs Increasing in Membership in 1873, French Artist Edgar Degas’ Idea for the Name of the Société Anonyme des Artistes Peintres Sculpteurs et Graveurs, the Name Selected in Place of This Suggestion, the Launch of the Société Anonyme des Artistes Peintres Sculpteurs et Graveurs, the Société Anonyme des Artistes Peintres Sculpteurs et Graveurs Surviving During the Modern Day, French Printmaker Louis Leroy‘s Scathing Review of the Société Anonyme des Artistes Peintres Sculpteurs et Graveurs’ Credibility in 1874, and the Etymology of “Impressionist” and “Impressionism”