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.

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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.

Although the highest possibilities in sculpture may not yet be reached, it is animated with new spirit of life and nature.  Nineteenth-century aims and modes of expression have greatly enlarged its province.  Like Painting, Sculpture has become democratic.  It glorifies Labor and all that is comprised in the term “common, every-day life,” while it also commemorates noble and useful deeds with genuine sympathy and an intelligent appreciation of the best to which humanity attains; at the same time poetical fancies, myths, and legends are not neglected, but are rendered with all possible delicacy and tenderness.

At present a great number of women are sculptors.  The important commissions which are given them in connection with the great expositions of the time—­the execution of memorial statues and monuments, fountains, and various other works which is confided to them, testifies to their excellence in their art with an emphasis beyond that of words.

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