Several painters adopted the methods of the impressionists to some degree. These painters included Giuessepe De Nittis, the Italian artist who was living in Paris and who participated in the 1st Impressionist exhibition because of the invitation of Degas, though other Impressionists had disparaged his work. Federico, another Italian friend to Degas, showed with Impressionists. Eva Gonzales, who was a follower of Manet did not exhibit with this group. James Abbott McNeill Whistler, an American-born artist who contributed in Impressionism although he never joined the group and also preferred grayed colors. An English artist, Walter Sicksert, initially was a follower of Whistler, but later a significant disciple of Degas and he didn’t exhibit with Impressionists. In 1904, the writer and the artist Wynford Dewhurst wrote the first significant lessons of the French painters which was to be published using English, and which did too much to make Impressionism popular in Great Britain.
Post-Impressionism was developed from Impressionism. Several artists from the 1880s started to develop diverse precepts for colour use, form, pattern and line which were derived from the other Impressionist. The artists in Post-Impressionism were slightly younger compared to the Impressionists, also, their work was known as post-Impressionism. Some original Impressionist artists ventured also into this new territory; briefly, Camille Pissarro painted in a manner called pointillist, and even Monet left strict plain air painting. Also, Paul Cezanne, participated in the 1st and 3rd Impressionist exhibitions, which developed a highly personal vision and emphasizing on pictorial structure, and he was more frequently referred to as a post-Impressionist. Although the above cases illustrated the difficult of assigning labels, impressionism may be categorized as the work of the innovative/original Impressionist painters. As early as 1880s, the Impressionist methods, at least superficially, were affecting the skills of the Salon. Stylish painters found significant and financial achievement by making brighter their palettes while still retaining the even finishing expected of Salon skills. Works done by these stylish artists are at times referred as Impressionism.
Japanese skill was all the fury in Paris during 1878 and after the 1878 Paris Exposition Universelle, and many artists, including Edgar Degas, Félix Bracquemond, Édouard Manet, Claude Monet, James Tissot, and Alfred Stevens, collected Japanese prints.