that Monet was redefining the style of the Impressionist era. Impressionism initially was defined by isolating color, light, and movement. In the late 1870s, Monet had pioneered a style that combined all three, while maintaining a focus on the popular subjects of the Impressionist era. Artists were often so struck by Monet's wispy brushstrokes that it was more than movement in his paintings, but a striking vibration. Auguste Rodin Auguste Rodin at first was very impressed by Monet's 'vibrating works' and Degas' unique understanding of spatial relationships. As an artist and an author of art reviews, Rodin published multiple works supporting this style. He claimed that Monet and Degas' work created the illusion "that art captures life through good modeling and movement". In 1881, when Rodin first sculpted and produced his own works of art, he rejected his earlier notions. Sculpting put Rodin into a predicament that he felt no philosopher nor anyone could ever solve; how can artists impart movement and dramatic motions from works so solid as sculptures? After this conundrum occurred to him, he published new articles that didn't attack men such as Manet, Monet, and Degas intentionally, but propagated his own theories that Impressionism is not about communicating movement but presenting it in static form. 20th century surrealism and early kinetic art The surrealist style of the 20th century created an easy transition into the style of kinetic art. All artists now explored subject matter that would not have been socially acceptable to depict artistically. Artists went beyond solely painting landscapes or historical events, and felt the need to delve into the mundane and the extreme to interpret new styles. With the support of artists such as Albert Gleizes, other avant-garde artists such as Jackson Pollock and Max Bill felt as if they had found new inspiration to discover oddities that became the focus of kinetic art. Albert Gleizes Gleizes was considered the ideal philosopher of the late 19th century and early 20th century arts in Europe, and more specifically France. His theories and treatises from 1912 on cubism gave him a renowned reputation in any artistic discussion. This reputation is what allowed him to act with considerable influence when supporting the plastic style or the rhythmic movement of art in the 1910s and 1920s. Gleizes published a theory on movement, which further articulated his theories on the psychological, artistic uses of movement in conjunction with