To return to this thought Renoir's absolutely essential to understand his painting and Impressionism in general, and the painting of Van Hove-that we can not, however, rank among the Impressionists: "... He distrusted the imagination. He considered it a form of pride ", I must say that I've never heard Van Hove talk of pride or vanity about his colleagues focusing on the imagination, but I have often heard describe his own imagination poor compared to what it offers to the outside world = what she sees outside itself, in nature when she walks in the countryside, or in his studio when she is there with his models: young woman, cushions, light on all the accessories, floor, bowls, TV screens, etc.. Knowing that his visual perceptions are not limited to shapes and colors of things and they also incorporate texture, it pushed particularly by developing her sense of hybrid combining the visual and tactile called good at all terminological logic visual touch.
About the importance of the sense of touch in painting, here's a quote from the book of John over on his father Augustus
"The memory of this practice (consisting for the teacher to strike without mercy on his rule the tips of toes joints student dissipated) indignant Renoir. Not that he was against corporal punishment. He regarded them as less painful and certainly less demeaning than reasoning. The teacher who managed to convince a student that he was wrong not to study his lesson because of the false democracy (...) If Renoir disapproved the ruler on the fingertips, because they risked damaging the nails. I often return to his belief in the importance of the five senses. The main seat of the sense of touch is the fingertips and nails one of the functions is to preserve this delicate center nervous. As a kid I liked to cut my nails very short. I might as well unless I hurt in climbing trees. My father told me I was wrong, "you must protect your fingertips; risk by exposing you to reduce your sense of touch and deprive you of the great pleasures in life."
To illustrate both the visual importance of touch in the paint of Van Hove and the greatest wealth of the outside world in his eyes, here's "The Loon"
(A painting by the artist signed to 45 ° afford to expose both the horizontal or vertical, the choice of the happy owner.) 
In this table, look-touch eyes more precisely-the bedspread on which the young woman
Not .. . The photo does not. You must see the picture. No photographic representation can not compete with an array of this sort, at least for a knowing spectator see with his eyes and the rest of his body, with this talent itself relatively rare.
What I want to explain here is that Van Hove parties perceives the external world on which she poses next to his painting as infinitely richer than any she could imagine. Richer and more beautiful. As a result it wants based paint that models live models and models not live here, in this case, if "Diving," Marion lying in the grass, the grass in his garden Château-Landon, bedspread cotton on which Marion, she read the book before going to sleep, etc.. Because this herb is wonderful richness and beauty, and beautiful Marion and the light of day bathes.
These painters there, Renoir and his gang of buddies Impressionists, and the Swede Anders Zorn to do just one other family member in addition to Van Hove, all these artists together to paint admiration.
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