This paper attempts to give a critical understanding of impressionism, its history and techniques. Firstly, it will introduce impressionism through its historical context providing insight of the political and cultural circumstances in the time of its formation. The discussion around impressionism is well documented, from its beginnings in the modern age to its eventual saturation. As well as the technical aspects of the new aesthetics and how they differ from the academic style. Its influence on Post impressionism which led to the development of a post impressionist critique of impressionism. Finally the intricate way it relates to feminism. The aim of this paper is to examine a cultural climate which gave rise to impressionist artists and show how they have been represented by critic. It intends chronologically to show that Impressionism and its inventions have influenced modern art from the very first exhibitions. The initial reaction of critics gives a deep insight into impressionism, after presenting some of their criticisms, supporters of the Impressionists who wished for new currents in art are quoted. Critical reviews of Pissarro 's landscapes and, through them, inventions of the Impressionist style are then presented. The text continues with the elaboration of possible role models and inspirations, and the originality and individualism of the Impressionists are recognized here. The modern age is cited as an important aspect that created the need to produce art that corresponds to the present. Then the impressionist figure is treated and the way the critics experienced it, Degas and Renoir stand out there. The reason for saturation with impressionism is stated and a new topic of elaboration is announced - post-impressionist critique of impressionism. The last phase of Impressionism and the way in which the Post-Impressionists build on this aesthetic are elaborated. Given that Impressionism forms an early and short phase in the rich opuses of the Post-Impressionists, their comments and reasons for finding a new aesthetic are concisely presented. The last chapter contains a feminist review of Impressionism. It consists of a historical context in which the complex relationship of men and women in the nineteenth century is exposed. Opportunities for integration into the art scene and preferred themes for women are further mentioned. The chapter concludes with an elaboration of the thesis that Impressionism is a female art.