It was through Theodore Robinson, who was working alternatively in America and France, that he, Twachtman, and Weir kept in close touch with Claude Monet, who was residing in Giverny at the time. The four Americans represented the core of American Impressionism, dedicated to painting what was real for them, what was familiar and close at hand, out-of-doors when possible, and with the immediacy of light and shadow—which though exaggerated and falsely colored at times—makes a purposeful impact or impression. The urban scene provided its own unique atmosphere and light, which Hassam found "capable of the most astounding effects" and as picturesque as any seaside scene. The challenge for the urban Impressionist, however, was that activity moved very quickly, and therefore, getting down a complete impression in oil was next to impossible. To compensate, Hassam would find a suitable location, make sketches of the components of his planned painting, then return to the studio to construct a total impression that was actually a composite of smaller scenes.