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Throughout their careers, the Impressionists demonstrated a strong, but rarely examined, interest in decoration. Between 1870 and 1900, a careful examination shows that Pissarro, Degas, Cézanne, Monet, Renoir, Morisot, and Caillebotte continued to explore the values of decoration and the decorative. Along with a number of artworks explicitly designated as “decorative” that were predominantly exhibited at the Impressionist shows, they also produced more than twenty decorative ensembles made for the interiors of patrons and amateurs. Initially publicized by the painters in the 1870s, their decorative works were subsequently undertaken more quietly, although still continuously. The critics’ attention, however, grew from the relative disinterest in making the decorative key to their approach at the turn of the century. An analysis of these experiments and their critical reception encourages, as this article demonstrates, a reconsideration of our vision of Impressionism, for its development drew much more from the decorative than has so far been said.