Abstract Impressionism emerged in New York City during the 1940s, blending traditional Impressionist techniques, often applied to real-life subjects painted en plein air, with varying degrees of abstraction. The term was coined by painter and critic Elaine de Kooning in the 1950s and popularized by Louis Finkelstein, who used it to describe Philip Guston's work as a nuanced alternative to the aggressive style of Abstract Expressionism. Its first significant exhibition, curated by Lawrence Alloway, took place in 1958 and showcased 26 paintings by 23 artists from various countries.

This movement sought a delicate balance between pure abstraction and a suggestion of reality, purposefully distancing itself from the mathematical precision of Cubism and Futurism's rejection of historical art. Instead, Abstract Impressionism embraced both new abstraction techniques and the lyrical appreciation of nature, aiming to create cohesive masses of color and imagery rather than divided forms.