F. Weber Company, Inc. is an American manufacturer and supplier of artists' materials.
 Established in 1853 in Philadelphia, Pennsylvania, the F. Weber Company, Inc. is the oldest and one of the largest manufacturers of art materials in the United States.
 The company has been known for quality and innovation throughout their history, for example in the late 19th and early 20th centuries—the golden years of the prestigious World Fair—F. Weber & Co. frequently won gold medals for its fine quality products.
 Exhibitions included: 1873 Vienna; 1876 Centennial Exposition, Philadelphia; 1893 Columbian Exposition, Chicago; 1903 Louisiana Purchase Exposition, St. Louis; 1915 Panama-Pacific Exposition, San Francisco; and 1926 Sesqui-Centennial Exposition, Philadelphia.
 Following the death of Fredrick W. Weber Sr. in 1919, his two sons Fred W. Weber and Ernest Weber had the company incorporated and renamed it F. Weber Co., Inc.
 Fred W. Weber was a successful artist, chemist, inventor, and businessman, he was responsible for much of the innovation in product development from taking over in 1919 to his retirement in 1967.
 With his long list of innovations, a majority of which decreased the toxicity of necessary painting supplies, Fred W. Weber elevated the company to further prominence in the US art supplies market.
 His expertise in the arts as well as science along with the publication of his first book "Artists Pigments" (Van Nostrand 1923) made him a desirable lecturer on the topic of art.
 He provided advice to many celebrated 20th century artists, including: Thomas Hart Benton, Dean Cornwell, Arthur Dove, Peter Hurd, Norman Rockwell, NC Wyeth, and Andrew Wyeth.
 At this time the company had its factory and headquarters in Philadelphia, Pennsylvania, and retail locations in Philadelphia, Baltimore, and St. Louis.
 The company was bought by Visual Art Industries of Brooklyn, NY in 1980.
 Honoring the Weber family, the name was not removed from the company.
 The company is now officially the Martin F. Weber Co. and still produces a variety of art supplies, including the original non-toxic white color "Permalba" formulated by Fred W. Weber himself in 1921.
 The modern company is also known for its artists signature kits designed for revered television artists such as Jon Gnagy, Bob Ross, Susan Scheme, Robert Wyland and Bruce Blitz.
The Heidelberg Artists Trail is a self-drive, cycling and walking trail that includes a series of 57 explanatory signs and boards situated in locations frequented by artists of the Heidelberg School.
 The signs display reproductions and descriptions of some of the most famous paintings, and are popular with school groups who have an interest in the arts and the natural environment.
 The trail winds for approximately 40 km through much of Jagajaga, including the municipalities of Banyule, Nillumbik and Manningham, through to the Yarra Valley and the Dandenong Ranges.
Bernard William Smith (3 October 19162 September 2011) was an Australian art historian, art critic and academic, considered one of the most eminent art historians of the 20th century.
 His book Place, Taste and Tradition: a study of Australian art since 1788 is a key text in Australian art history, and an influence on Robert Hughes.
 Smith was associated with the Communist Party of Australia, and after leaving the party remained a prominent left-wing intellectual.
 Smith sold much of his art collection to fund one of the first art prizes for artists of Aboriginal background.
One Summer Again is a 1985 Australian docudrama miniseries about the painter Tom Roberts and the Heidelberg School art movement.
 Set in and around the city of Melbourne in the late 19th century, the film traces Roberts' career and his relationships with other members of the Heidelberg School, including Arthur Streeton, Charles Conder and Frederick McCubbin.
 Their artists' camps are recreated in authentic bush settings, which one critic described as having "the soft warmth of a McCubbin painting".
 Film sets true to the period are contrasted with shots of contemporary Melbourne.
Eye movement in reading involves the visual processing of written text.
 This was described by the French ophthalmologist Louis Émile Javal in the late 19th century.
 He reported that eyes do not move continuously along a line of text, but make short, rapid movements (saccades) intermingled with short stops (fixations).
 Javal's observations were characterised by a reliance on naked-eye observation of eye movement in the absence of technology.
 From the late 19th to the mid-20th century, investigators used early tracking technologies to assist their observation, in a research climate that emphasised the measurement of human behaviour and skill for educational ends.
 Most basic knowledge about eye movement was obtained during this period.
 Since the mid-20th century, there have been three major changes: the development of non-invasive eye-movement tracking equipment; the introduction of computer technology to enhance the power of this equipment to pick up, record and process the huge volume of data that eye movement generates; and the emergence of cognitive psychology as a theoretical and methodological framework within which reading processes are examined.
 Sereno & Rayner (2003) believed that the best current approach to discover immediate signs of word recognition is through the recordings of eye movements and event-related potential.
The Heidelberg School was an Australian art movement of the late 19th century.
 The movement has latterly been described as Australian Impressionism.
The Church of the Good Shepherd, Kensington, was an Episcopal congregation in Kensington neighborhood of Philadelphia, Pennsylvania.
 Founded in 1868, it merged with Emmanuel Church, Kensington, in 1994 to form the Church of Emmanuel and the Good Shepherd.
 Its 1887 building, designed by architect T. Frank Miller and located at 2121-2127 East Cumberland Street, was demolished in 2016.
 The Church of the Good Shepherd, Kensington, was an among the few surviving reminders of the mid to late 19th century English immigrant experience and community in Kensington and Philadelphia.
 Movement has been made to celebrate the colonial experience (i.e. Penn Treaty Park) and preserve the 19th century "new immigrant" experience (i.e. St. Laurentius Church, in Fishtown) in the greater Kensington area.
 Scholars often refer to this immigrant group as hidden and forgotten.
 These immigrants, to outsiders, blended in and disappeared.
 However, as the property demonstrates, mid to late 19th century English immigrants, far from being hidden, built unique neighborhoods, cultural institutions, and worship sties.
Australian art is any art made in Australia or about Australia, from prehistoric times to the present.
 This includes Aboriginal, Colonial, Landscape, Atelier, early twentieth century painters, print makers, photographers, and sculptors influenced by European modernism, Contemporary art.
 The visual arts have a long history in Australia, with evidence of Aboriginal art dating back at least 30,000 years.
 Australia has produced many notable artists of both Western and Indigenous Australian schools, including the late-19th-century Heidelberg School plein air painters, the Antipodeans, the Central Australian Hermannsburg School watercolourists, the Western Desert Art Movement and coeval examples of well-known High modernism and Postmodern art.
The Royal Academy of Art (Dutch: "Koninklijke Academie van Beeldende Kunsten" , KABK) is an art academy in The Hague.
 Succeeding the "Haagsche Teeken-Academie" (part of the Confrerie Pictura), the academy was founded on 29 September 1682, making it the oldest in the Netherlands.
 It has been training ground for a number of significant artists of the Hague School.
 And it was part of the art movement of Dutch Impressionism and was also in the immediate vicinity of the II.
 Golden Age of Dutch painting.
 However, in the 19th century the training for a long time was still strongly oriented towards the classic curriculum.
 At the end of the 19th century this academy had opened to Modernism, too.
Proto-Cubism (also referred to as Protocubism, Pre-Cubism or Early Cubism) is an intermediary transition phase in the history of art chronologically extending from 1906 to 1910.
 Evidence suggests that the production of proto-Cubist paintings resulted from a wide-ranging series of experiments, circumstances, influences and conditions, rather than from one isolated static event, trajectory, artist or discourse.
 With its roots stemming from at least the late 19th century this period can be characterized by a move towards the radical geometrization of form and a reduction or limitation of the color palette (in comparison with Fauvism).
 It is essentially the first experimental and exploratory phase of an art movement that would become altogether more extreme, known from the spring of 1911 as Cubism.

Question: What was the Australian art movement of the late 19th century described as, who's artists frequent a self-drive, cycling and walking trail that includes a series of 57 explanatory signs and boards situated in locations?
Answer: Australian Impressionism