In 1876 Edmond Duranty dubbed the style of emerging French impressionist artists "The New Painting." More than a style, the Impressionists' luminous landscapes were regarded as a new way of seeing. Of course, it was not wholly new. The English painters Constable and Turner, whose work French artists knew, had already painted out of doors earlier in the century and brilliantly sought to capture the impact of natural scenes on their sensibility. Courbet's tough-minded realism and Jongkind's harbor scenes also had much to teach the emergent movement. The Impressionists never denied this ancestry; but they were aware, too, that they had taken these painters' unconventional experiments to unfamiliar levels and, consolidating themselves as a movement, had indeed made painting new.