"One of the curious features of Impressionism... was the casualness of their work. ...[T]he painters gave the impression of hastily concocted canvases... more... inspiration than... patient labor. The effortless stroke of genius became a leading measure of artistic quality, partly because it denied mere "work." ..."Art for art's sake" was an invention of the romantic era in France. ...They looked towards a mythical past in which the "natural" person could cultivate self-expression, free of the claims of social utility. This fantasized past... had an anti-industrial character. ...Work was despised because the growing industrial revolution was separating it from inventiveness, originality, and individualism. ...The inventiveness and spontaneity that independent artists sought were... opposed to industrial work,... products (with which they associated academic art) and for many... cities... Women and men held parasols and croquet mallets, not sickles and hoes, and dahlias were more attractive than cabbages. (It is true that Pissarro retained much of the outlook of Barbizon artists...) The work ethic implicit in Barbizon art... was done away with by the impressionists. The suburb and the coastal resort, not the farm, is the landscape of Morisot, Renoir, Manet, and Monet. ...The Impressionists ...joined other middle-class vacationers (except for Cézanne and Pissarro, so little in sympathy with Parisian society)."