The Impressionist Movement was, in some sense, a break-up with all other art manifestations. These had embodied in their principles (many times not so explictly) that colors should be contained, either in form or in space, inside of the rigid lines of the drawing. The colors, eventhough majestic in the great master paintings, played a secondary hole in the art scenario. The drawing always had the first one. It was it that dictated where colors could be and what spaces they should take up.

This movement had emerged around the middle of the 19th century, when many happenings had created conditions for the birth of this new way of painting. I find opportune to briefly talk on some of them. First, we remember that photography had become much useful at that time. Cameras were quickly incorporated to the auxiliary methods of painting. It is said that they were used by Manet, Degas, Sisley, Tolouse-Lautrec among others. They permitted the registration of details that could be easily remembered, later on, in the calm atmosphere of the studios. They became easier the reproduction of moving scenes, a fact well remembered in the famous Degars' dancers. However, these paintings were not just copies. Cameras were technical resources which permitted the creativity and imagination to start from a point much more ahead. It is opportune to mention that these were almost the words said by Delacroix, a painter from Romantism and one of the first to use cameras as auxiliary method of painting.

Another happening was the so called Industrial Revolution, when the chemical industry leads a series of new and interesting pigments to the artist. Viridian is from this time. It is a transparent and vibrant green pigment, obtained from the old and dull chrome oxide green, in a "mysterious" process which was "discovered" just twenty years later. Ultramarine blue, another transparent and nice pigment, was also synthesized, what make it a current pigment for any artist. Until that time, ultramarine blue was just obtained from the lapis lazuli, a semi-precious stone. It is also from that time the emerging of the Organic Chemistry. One of its first consequence for the art was the synthesizition of the alizarin, a violet and another beautiful transparent pigment, until then obtained from a plant known as mader.

If all of this were yet not enough, there were many developments in the Optics. First in the Maxwell works, during the elaboration of the electromagnetic theory and in the idea that our retina had just three kind of sensors. After that, Chevreul presented the notion of complementary colors, a fact much explored not only by impressionist but mainly for the neo-impressionists (where Van Gogh was the most eminent of them). Besides of this, it was invented the oil tubes, what make much easier to the Artist go out of the studio and facilitated the full development of the plein-air painting. The landscape theme become then important, as well as shadow and light were explored in all their color nuances.

With no doubt, photography have contributed to diminish the imponence of the drawing. The access to new and more vibrant pigments led then a strong role for the colors. In the impressionist world, they play the most important one. They have the daringly of going beyond the rigid lines of the drawing. The resulting painting become more light and emotive. Its natural development lead much later to the abstract painting, where colors are free of any limit.

In the quantum world something similar happens. Since the initial informations from quantum experiments, Physicists took about one quarter of century to understand that rebel electrons, like colors in the impressionism, could not be kept over the lines predicted by classical theories. In fact, they could follow any trajectory. Their location become a question of probability. These facts lead to the development of the quantum theory, which is a new physics so revolutionary as it was the new way of painting in the Impressionism.

The name "Quantum Impressionism" still reflects two other more aspects. The first one is related with the own artist life. The beginning of his motivation for drawing is lost in your more remote thoughts. Concerning his first painting, he remembers well, it was done at 12 years old. However, during his life, he learned how to be a Physicist. Eventhough his artistic activities had followed in a parallel way with his physicist activities, they were contained inside the rigid lines that your profession naturally imposed. It was just in the last two years that art has been taken a distinguished position in his life, as it happened with colors. Nowadays he is just an artist, without no lines restricting his activities.

Finally, another aspect embodied in the title is the modernity of his work, a fact certified by incorporating the technological devices of our days. If impressionists had used conventional cameras as auxiliary methods for painting, we now have all the resource of digital world. They permit us to make simulations and preliminary studies before going with brushes to canvas. We still have the infinite facilities of the wide-web-world. Beside of this, we now have hundred of new pigments, most of them synthetic and organic. A contrasting fact with the impressionist time, where the only organic pigment, with reasonable quality, was the alizarin. Today one has quinacridones, azos, phthalos, naphtols etc. They are pigments with a transparency and dyeing power that could not be even imagined by impressionists.

The exhibition "Quantum Impressionism" is formed by twenty three paintings which were done in these last two years. The theme is that one that impressionist liked more, landscapes. Here, the landscapes are from Rio, mainly the Old Rio.