painters were not trapped by the time frame of how quickly oil paint dried. Paints in tubes could be easily loaded up and carried out into the real world, to directly observe the play of color and natural light, in shadow and movement, to paint in the moment. Selling the oil paint in tubes also brought about the arrival of dazzling new pigments - chrome yellow, cadmium blue - invented by 19th century industrial chemists. The tubes freed the Impressionists to paint quickly, and across an entire canvas, rather than carefully delineated single-color sections at a time; in short, to sketch directly in oil - racing across the canvas in every color that came to hand and thus inspiring their name of "impressionists" - since such speedy, bold brushwork and dabs of separate colors made contemporary critics think their paintings were mere impressions, not finished paintings, which were to have no visible brush marks at all, seamless under layers of varnish. Pierre-Auguste Renoir said, “Without colors in tubes, there would be no Cézanne, no Monet, no Pissarro, and no Impressionism.” Finally, the careful, hyper-realistic techniques of French neo-classicism were seen as stiff and lifeless when compared to the remarkable new vision of the world as seen through the new invention of photography by the mid-1850s. It was not merely that the increasing ability of this new invention, particularly by the French inventor Daguerre, made the realism of the painted image redundant as he deliberately competed in the Paris diorama with large-scale historical paintings. The neo-classical subject matter, limited by Academic tradition to Greek and Roman legends, historical battles and Biblical stories, seemed oppressively clichéd and limited to artists eager to explore the actual world in front of their own eyes revealed by the camera - daily life, candid groupings of everyday people doing simple things, Paris itself, rural landscapes and most particularly the play of captured light - not the imaginary lionizing of unseen past events. Early photographs influenced Impressionist style by its use of asymmetry, cropping and most obviously the blurring of motion, as inadvertently captured in the very slow speeds of early photography. Edgar Degas, Claude Monet, Pierre-Auguste Renoir - in their framing, use of color, light and shadow, subject matter - put these innovations to work to create a new language of visual beauty and meaning. Faking revolution: the CIA and Abstract Expressionism Their initial break with