The word Impressionism calls to mind the names of Manet, Monet, Pissaro, Mme. Berthe Morisot, Paul Cézanne, Whistler, Sargent, Hassam, and many others. Impressionists exhibited their pictures in Paris as early as 1874; not until 1878 were they seen to advantage in London, when Whistler exhibited in the Grosvenor Gallery; and the New English Art Club, founded in 1885, was the outcome of the need of this school to be better represented in its special exhibitions than was possible in other galleries. In a comprehensive sense Impressionism includes all artists who represent their subjects with breadth and collectiveness rather than in detail--in the way in which we see a view at the first glance, before we have time to apprehend its minor parts. The advocates of impressionism now claim that it is the most reformatory movement in modern painting; it is undeniably in full accord with the spirit of the time in putting aside older methods and conventions and introducing a new manner of seeing and representing Nature. The differing phases of Painting in the nineteenth century have had their effect upon that art as a whole. Each one has been important, not only in the country of its special development, but in other lands, each distinctive quality being modified by individual and national characteristics. * * * * * In the early decades of the past century Sculpture was "classic" and conventional rather than natural and sincere. A revolt against these conditions produced such artists as Rodin, St. Gaudens, MacMonnies, and many less famous men who have put life, spirit, and nature into their art. In Sculpture as in Painting many more subjects are treated than were formerly thought suited to representation in marble and bronze, and a large proportion of these recent _motifs_ demand a broad method of treatment--a manner often called "unfinished" by those who approve only the smooth polish of an antique Venus, and would limit sculpture to the narrow class of subjects with which this smoothness harmonizes. The best sculptors of the present treat the minor details of their subjects in a sketchy, or, as some critics contend, in a rough imperfect manner, while others find that this treatment of detail, combined with a careful, comprehensive treatment of the important parts, emphasizes the meaning and imparts strength to the whole, as no smoothness can do.