These qualities were, of course, ones that would prove to be characteristic of the Impressionist style. The nature of Velasquez's work too, in his fluid approach to vivid colour and vigorous brushstrokes, can be considered to have been anticipating Impressionism. Indeed, Velasquez is widely recognised as Manet's most prominent influence, and as an instrumental figure in facilitating the shift from Realism to Impressionism. .
Goya was known for the imaginative quality of his works, particularly in his later career, and can be cited as a significant figure in the general divergence from the academic canon and as a facilitator of the Modernist model. He was commissioned by the Spanish court and documented the happenings of the time, notably the Peninsular War. However, his work chronicled historical events subversively. This deviation from the rigid ideals of the academic canon, and also Goya's vivid use of colour and loose brushstrokes, would later be valued stylistically as characteristics of Impressionism. The fact that Manet was inspired by Goya, and indeed by Hals and particularly Velasquez (whom he called "the painter of painters"), suggests then that he should have taken their rebellious initiative further and developed it. His first recognised work, The Absinthe Drinker, is in some ways representative of Impressionism, and more so, represents the idea of the loosening of the traditional rigidity associated with Realism. This piece, painted in 1859, with it's visible brushstrokes, unfinished quality, lack of intricacy, unorthodox subject matter and also the lax attitude that can be observed in its transitional tones in colour, is easily asserted as a piece of work anticipating Impressionism. It is realised in a style somewhere between Realism and Impressionism. It can be considered almost a manifestation of the bridge between the two that Manet is credited with inaugurating.
