In 1902, art critic Arsène Alexandre published an article in Le Figaro in which he referred to the painters of Rouen, emulators of the Impressionist movement, by the term "School of Rouen". This publication was not insignificant, as it responded to a direct request from the manufacturer and art collector François Depeaux, who wished to promote the Parisian exhibition of one of the group members: Joseph Delattre (1858-1912). Thus, even though the painters of Rouen have been exhibiting, meeting and even defending themselves since 1880, it was under the impetus of their patron and collector that the name still used today was formed. Previously referred to as the "Rouen Impressionists", this new name raises questions. In what way and how does this exogenous nomination, which is also a form of designation, contribute to an identity that ensures a form of recognition for these artists? From this point of view, studying the school of Rouen through the prism of the collection, by questioning more particularly the collectors' motivations, enables us to provide some answers. From François Depeaux, patron and promoter of the painters of Rouen, to Antonin Personnaz, friend and collector of the Impressionist masters, through Constant Roussel or Paul Krôn, who are the collectors of the school of Rouen and why do they collect them?