"It was to the painters of the previous generation that Monet turned... Boudin summed up clothed figures in rapidly noted dashes of color... that... merged the identities of color and line; Jongkind... made sky, rooftops, water, and foliage shimmer in separate dabs of bright paint; Corot employed broad bands of buttery pigment to give the sense of sunlight streaking through foliage to fall on meadow or forest road; Diaz and Rousseau put spots of paint side by side to create a surface mosaic of foliage; Courbet commonly used opaque paint, scraped and dabbed with a palette knife, to form a patchwork of textured areas that adhered as much to surface as to imagined depth. ...Courbet ...insisted that one must paint what one actually sees ...Monet's improvised technique, "sketchy" even in the most finished areas, was ...a further development of the free, somewhat rough way of applying paint which had characterized the mid-century vanguard. In Courbet... free handling was equated with opposition to authority... For other[s] of the same generation, sketchiness was considered forward-looking, independent, and "democratic"... opposed to the highly finished surfaces of officially sanctioned art. Daubigny was accused of giving mere "impressions" of nature... and Millet's shaggy surfaces were treated... as appropriate to his peasant subjects. ...Sincerity, truth, immediacy, spontaneity, natural light, and color, the banishing of muddy colors, the distrust of smooth finish—these were the moral underpinnings of artistic technique that Monet adopted."