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The Cover
April 15, 1998

The Plaza After Rain

Author Affiliations

Edited by M. Therese Southgate, MD, Senior Contributing Editor.

JAMA. 1998;279(15):1148. doi:10.1001/jama.279.15.1148

The influence of French Impressionism on American art of the late 19th century, though indisputable, was ultimately subtle and diffuse. Impressionism never coalesced into a united movement in the United States, because it was not formed under the same pressures and constraints as in France. Modern American artists did not need to assume as rebellious a stance as their French contemporaries. There was no state-sanctioned Académie that controlled opportunities to exhibit and that determined style and subject matter. The American artist was free to take what he wished from the new and modern continental art and translate it to his or her own style without sanction. Moreover, the United States had always been fertile ground for such experimentation and adaptation of new styles. Thus, most American artists who had studied abroad developed individual, and at times eclectic, techniques for representation and expression. One such artist was St Louis-born Paul Cornoyer (1864-1923).

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