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Many vivid synthetic pigments became commercially available to artists for the first time during the 19th century. These included [[cobalt blue]], [[viridian]], [[cadmium yellow]], and synthetic [[ultramarine blue]], all of which were in use by the 1840s, before Impressionism.<ref name="Wallert_159" /> The Impressionists' manner of painting made bold use of these pigments, and of even newer colours such as [[cerulean blue]],<ref name="The Met" /> which became commercially available to artists in the 1860s.<ref name="Wallert_159">{{cite book |last1=Wallert |first1=Arie |last2=Hermens |first2=Erma |last3=Peek |first3=Marja |year=1995 |url=https://books.google.com/books?id=pdFOAgAAQBAJ&pg=PA159 |title=Historical painting techniques, materials, and studio practise: preprints of a symposium, University of Leiden, Netherlands, 26–29 June 1995 |location=Marina Del Rey, Calif |publisher=Getty Conservation Institute |page=159 |isbn=0-89236-322-3}}</ref>
The Impressionists' progress toward a brighter style of painting was gradual. During the 1860s, Monet and Renoir sometimes painted on canvases prepared with the traditional red-brown or grey ground.{{sfnp|Stoner|Rushfield|2012|p=[https://books.google.com/books?id=1msM3h9mbaoC&pg=PA177 177]}} By the 1870s, Monet, Renoir, and Pissarro usually chose to paint on grounds of a lighter grey or beige colour, which functioned as a middle tone in the finished painting.{{sfnp|Stoner|Rushfield|2012|p=[https://books.google.com/books?id=1msM3h9mbaoC&pg=PA177 177]}} By the 1880s, some of the Impressionists had come to prefer white or slightly off-white grounds, and no longer allowed the ground colour a significant role in the finished painting.{{sfnp|Stoner|Rushfield|2012|p=[https://books.google.com/books?id=1msM3h9mbaoC&pg=PA178 178]}}
== Content and composition ==
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