“Impressionism affected the philosophy as well as the art of the last years of this period.
Both Freud’s psychoanalysis and Bergson’s philosophy of vitalism are intimately connected
with it, for the Viennese doctor’s notions would be incomprehensible without impressionism’s
view of reality as composed of constantly changing moods, impressions, and ideas, and
Bergson’s emphasis upon the spiritual as opposed to the mechanical forces in life was informed
by impressionism’s implicit denial of materialism as a philosophy. With respect to this last
point, it may be noted that, in the years immediately preceding the outbreak of World War I,
Bergson’s philosophy had great influence not only upon introspective novelists and poets like
Alain-Fournier, Francis Jammes, André Gide and Stefan George but upon others, like Charle
Péguy, Romain Rolland, Jules Remains and Gabriele d’Annunzio, who abandoned the passive
art for art’s sake attitude of earlier impressionist writers and turned to a new activism that
sought to change society.
“In music the giants of the period were still Wagner, Gounod, and Verdi, whose work had
begun before 1870. The last of these was to grow in stature as a result of his inspired
collaboration with Arrigo Boito, which was to produce Otello in 1887 and Falstaff in 1893. But
there were new names also. Tchaikovsky, Moussorgsky, Rimski-Korsakov, Smetana, Dvorak,
and, in the last years before the war, Enescu made the folk music of eastern Europe known to
the whole continent, while Grieg and Sibelius accustomed audiences to novel nordic strains.
Italy gave the world the music of Leoncavallo, Mascagni, Respighi, and that master of operatic
writing Puccini, whose Manon Lescaut (1893) and La Bohême (1896) aroused lachrymose
enthusiasm all over the Western World….”
Op. cit., pp. 245-47.