Question: Why did Monet refer to his art as impressionism?
About the article "Impression, Sunrise", section "History".

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Jean Monet may refer to:  Jean Monet (Canadian writer), winner at the 1997 Arthur Ellis Awards  Jean Monet (son of Claude Monet), (1867-1913), a frequent subject of paintings by his father Claude Monet  
Monet and Impressionism.
First "Impressionist" exhibition.
From the late 1860s, Monet and other like-minded artists met with rejection from the conservative Académie des Beaux-Arts which held its annual exhibition at the Salon de Paris.
During the latter part of 1873, Monet, Pierre-Auguste Renoir, Camille Pissarro, and Alfred Sisley organized the Société anonyme des artistes peintres, sculpteurs et graveurs (Cooperative and Anonymous Association of Painters, Sculptors, and Engravers) to exhibit their artworks independently.
At their first exhibition, held in April 1874, Monet exhibited the work that was to give the group its lasting name.
"Impression, Sunrise" was painted in 1872, depicting a Le Havre port landscape.
From the painting's title the art critic Louis Leroy, in his review, "L'Exposition des Impressionnistes," which appeared in Le Charivari, coined the term "Impressionism".
It was intended as disparagement but the Impressionists appropriated the term for themselves.  
She was the second daughter of Ernest Hoschedé and Alice Hoschedé.
Ernest was a business man, a department store magnate in Paris.
and an art collector of impressionist paintings.
In 1876, he commissioned Claude Monet to paint decorative panels in the round drawing room, in his residence, the "château de Rottembourg", in Montgeron.
In 1877 Ernest Hoschedé, went bankrupt and his art collection was auctioned off.
Ernest, Alice, and their 6 children moved into a house in Vétheuil with Monet, Monet's first wife Camille, and the couple's two sons, Jean and the infant Michel.
Ernest, however, spent most of his time in Paris, and eventually abandoned his family and went to Belgium.
During 1879 after the death of Camille Monet, Alice Hoschedé and the 2 Monet children lived together in Paris.
Eventually joining Monet in Vétheuil, and then moving with him to Poissy in 1881 and finally settling in Giverny in 1883.
The relationship between Claude Monet and Alice Hoschedé developed and became official although they remained unmarried.
After Ernest Hoschedé died in 1891 Claude Monet and Alice Hoschedé did marry in 1892.
Blanche became immediately fond of Claude Monet.
She was eleven when she discovered the art of painting.
Eventually she spent long hours in Claude Monet’s atelier and also in Édouard Manet’s.
In 1882 Claude Monet rented a summer house in Pourville, and Blanche started to paint next to him.
When Claude Monet created his series "Haystacks (1890–1891)" Blanche came completely under his influence.
Blanche became Monet's assistant and pupil.
She often carried Claude Monet’s easel, canvases on a wheel barrow, and then set up her own easel and painted nearby.
She used the same canvas, the same palette, and the same colors and the same subject.
Paul Durand-Ruel purchased a Haystack by Blanche Hoschedé Monet, and it currently is displayed in Claude Monet’s house in Giverny.
While in Italy, Claude Monet wrote a letter to Alice Hoschedé, “Is Blanche still painting and am I going to find her in progress?” Her work was done en plein air as she did not have an atelier.
Claude Monet in January 1888 while in Antibes, encouraged Blanche to submit a work to the Salon.
The Hoschedé-Monet family shared a lot of time with the "American Expatriates".
Blanche also painted alongside John Leslie Breck (1860–1899), and Theodore Earl Butler.
She had a romance with John Leslie Breck which was stopped by Claude Monet.
Consequently, John Leslie Breck left Giverny in 1892 after Theodore Earl Butler’s marriage to Blanche’s sister, Suzanne Hoschedé; a marriage approved by Claude Monet.
Finally, Blanche married Claude Monet’s eldest son, Jean Monet, in 1897.
They lived in Rouen and Beaumont-le-Roger until 1913.
She painted landscapes such as meadows along the Risle’s river and Poplars and Pines.
Upon her husband’s death in 1913 she moved back to Giverny with Claude Monet in 1914.
She went to Clemenceau’s House in the southern part of France in Saint- Vincent-du-Jar with Claude Monet for one week in October 1921.
She returned in 1927, 1928 and 1929 and did some paintings of the he was called by the prime minister of France, Georges Clemenceau, "The Blue Angel", as she spent her time taking care of Claude Monet until his last days.
Janine Burke believes that Blanche may have assisted Monet in the painting of "Grand Decorations".
Monet had trained and encouraged Blanche as an artist.
In a chapter on Blanche and Monet in "Source: Nature's Healing Role in Art and Writing" (2009), Burke comments, "Given the sheer scale of the surfaces to be covered in the Grand Decorations, it is logical to consider Monet had an assistant, and who better than Blanche?"
Most of her works were done in Giverny and around Rouen.
She painted in Giverny from 1883 to 1897 and then from 1926 to 1947.
She eventually decided to have a solo show at Bernheim Jeune, in 1931.
She adopted an almost pure form of impressionism.
She painted for her own pleasure.
It is difficult to distinguish her work from Monet’s especially during her first period in Giverny.
The palette, brushes, paint and canvases came from Claude Monet.
She then painted Claude Monet’s garden, and its surroundings.
A street in Giverny bears her name. 
Divisionism quickly received both negative and positive attention from art critics, who generally either embraced or condemned the incorporation of scientific theories in the Neo-Impressionist techniques.
For example, one critic, Joris-Karl Huysmans, spoke negatively of Seurat’s paintings, saying “Strip his figures of the colored fleas that cover them, underneath there is nothing, no thought, no soul, nothing”.
Leaders of Impressionism, such as Monet and Renoir, refused to exhibit with Seurat, and even Camille Pissarro, who initially supported divisionism, spoke negatively of the technique eventually.
While most divisionists did not receive much critical approval for the majority of their careers, some critics were loyal to the movement, including most notably Félix Fénéon, Arsène Alexandre and Antoine de la Rochefoucauld. 
The Franco-Prussian War of 1870 fragmented the French art community.
Many artists took refuge in England, joining Whistler, including Pissarro and Monet, while Manet and Degas stayed in France.
Like Whistler, Monet and Pissarro both focused their efforts on views of the city, and it is likely that Whistler was exposed to the evolution of Impressionism founded by these artists and that they had seen his nocturnes.
Whistler was drifting away from Courbet's "damned realism" and their friendship had wilted, as had his liaison with Joanna Hiffernan.