*impression*

n. The quality of being impressionable. [ 1913 Webster ]

a. [ Cf. F. impressionnable. ] Liable or subject to impression; capable of being molded; susceptible; impressible; as, a bad influence on impressionable youths. [ 1913 Webster ]

He was too impressionable; he had too much of the temperament of genius. Motley. [ 1913 Webster ]

A pretty face and an impressionable disposition. T. Hook. [ 1913 Webster ]

n. The quality of being impressionable. [ 1913 Webster ]

n. [ F. impressionnisme. ] (Fine Arts) The theory or method of suggesting an effect or impression without elaboration of the details; -- a disignation of a recent fashion in painting and etching. [ 1913 Webster ]

n. [ F. impressionniste. ] (Fine Arts) One who adheres to the theory or method of impressionism in art; especially, a painter who paints in the impressionistic style; as, the skyrocketing prices of paintings by the French impressionists. [ 1913 Webster ]

a. Pertaining to, or characterized by, impressionism. [ 1913 Webster ]

a. Having the quality of not being impressed or affected; not susceptible. [ 1913 Webster ]

n. (Painting) A theory or practice which is a further development, on more rigorously scientific lines, of the theory and practice of Impressionism, originated by George Seurat (1859-91), and carried on by Paul Signac (1863- -) and others. Its method is marked by the laying of pure primary colors in minute dots upon a white ground, any given line being produced by a variation in the proportionate quantity of the primary colors employed. This method is also known as (stippling). [ Webster 1913 Suppl. ]

n. (Painting) In the broadest sense, the theory or practice of any of several groups of painters of the early 1900's, or of these groups taken collectively, whose work and theories have in common a tendency to reaction against the scientific and naturalistic character of impressionism and neo-impressionism. In a strict sense the term post-impressionism is used to denote the effort at self-expression, rather than representation, shown in the work of Cézanne, Matisse, etc.; but it is more broadly used to include cubism, the theory or practice of a movement in both painting and sculpture which lays stress upon volume as the important attribute of objects and attempts its expression by the use of geometrical figures or solids only; and futurism, a theory or practice which attempts to place the observer within the picture and to represent simultaneously a number of consecutive movements and impressions. In practice these theories and methods of the post-impressionists change with great rapidity and shade into one another, so that a picture may be both cubist and futurist in character. They tend to, and sometimes reach, a condition in which both representation and traditional decoration are entirely abolished and a work of art becomes a purely subjective expression in an arbitrary and personal language. [ Webster 1913 Suppl. ]

n. A second or repeated impression; a reprint. [ 1913 Webster ]