15 May - 15 June 1886 - 1 rue Laffitte - Restaurant La Maison Dorée, Paris Around 1886, the art market began to develop with the emergence of major galleries. The eighth exhibition was attended by Degas, Cassatt, Zandomeneghi, Forain, Gauguin, Monet, Morisot, Renoir and Pissarro. They were joined by Pissarro's son Lucien and Marie Bracquemond. Like Edgar Degas, he was the author of figurative works and landscapes in which the Impressionist technique is not used in a canonical manner. Art historians regard Pissarro as the ideal inspirer of Impressionism even though it was Monet who developed the technique. Pissarro was the only one to participate in all eight Impressionist exhibitions. The nascent Neo-Impressionism was represented by Georges Seurat and Paul Signac. Camille Pissarro joined the experimentation around 1886. Cézanne and Gauguin, on the other hand, are known as the main exponents of Post-Impressionism. The former, introverted and reflective, adopted a geometric reading of form and following criticism in 1877, isolated himself in Aix-en-Provence. Gauguin, on the other hand, manifested a restless and adventurous behaviour and moved first to Brittany and then to exotic lands in order to find a primordial inspiration to represent in a symbolic way. At the last exhibition, 'Neo-Impressionism' also called 'Scientific Impressionism' took hold, which led to the experiments of 'Pointillisme' and 'Lyrical-Romantic Impressionism' by Monet and other artists. In this edition, Seurat's Un Dinamnche à la Grande Jatte was a hit with the public. This exhibition was also attended by Paul Gauguin who disliked pointillist experimentation and called the artists who practised it 'little chemists'. This exhibition gave Gauguin the opportunity to evolve his practice through meeting the engraver Félix Bracquemond and the ceramist Ernest Chaplet.