It is interesting to note how preceding artistic styles inspire and made way for one another and how these, in turn lead to Impressionism. While the movements cannot be confined to an exact chronological timetable, they do give some clues as to the artistic background in which Impressionism began.  This movement was widely found throughout Europe in the post-renaissance period and is largely considered one of the most influential forerunner of Impressionism. Since the eighteenth century, English artists had  demonstrated an zeal towards painting the landscape. Particular condition that were constantly changing nature of the landscape made way for a more impressionistic approach to the painting. J.M.W.Turner's Rain, Steam & Speed - The Great Western Railway of 1844 provides a good idea of how this English division undoubtedly affected ensuing French artists.

In 1855, Paris World Fair, a sequel to the London's Crystal Palace four years previously. A distinguishing feature of this second fair was its focus on art. This served, in some large part, to highlight Paris as the centre of the art world. If new innovative ideas were to be expressed, this was the place for painters to come. Among those attracted by the World Fair in Paris were the group of young painters, soon to be earmark the Impressionists.

The Académie Suisse, founded and run by the painter Charles Suisse, provided a cheap and productive venue in which aspiring painters could exchange new and progressive ideas. It was here that Pissarro, Monet, Guillaumin and Cézanne first came to know each other. Despite the obvious advantages of free models, which were provided, the Académie Suisse was appealing for a number of reasons. The most important of which was that it provided a place to air new and controversial attitudes in painting. Those that would otherwise never have been exposed in an art world community, which was committed to a traditional style and open only to the most, limited  modifications.