Synthetism is a term used by Post-Impressionist artists like Paul Gauguin, Ămile Bernard and Louis Anquetin to distinguish their work stylistically from Impressionism. Earlier, Synthetism has been connected to the term Cloisonnism, and later to Symbolism. The term is derived from the French verb synthĂ©tiser (to synthesize or to combine so as to form a new, complex product).
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đ Synthetism in the context of Post-Impressionist
Post-Impressionism (also spelled Postimpressionism) was a predominantly French art movement which developed roughly between 1886 and 1905, from the last Impressionist exhibition to the birth of Fauvism. Post-Impressionism emerged as a reaction against Impressionists' concern for the naturalistic depiction of light and colour. Its broad emphasis on abstract qualities or symbolic content means Post-Impressionism encompasses Les Nabis, Neo-Impressionism, Symbolism, Cloisonnism, the Pont-Aven School, and Synthetism, along with some later Impressionists' work. The movement's principal artists were Paul CĂ©zanne (known as the father of Post-Impressionism), Paul Gauguin, Vincent van Gogh and Georges Seurat.
The term Post-Impressionism was first used by art critic Roger Fry in 1906. Critic Frank Rutter in a review of the Salon d'Automne published in Art News, 15 October 1910, described Othon Friesz as a "post-impressionist leader"; there was also an advert for the show The Post-Impressionists of France. Three weeks later, Roger Fry used the term again when he organised the 1910 exhibition Manet and the Post-Impressionists, defining it as the development of French art since Ădouard Manet.
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Synthetism in the context of Cloisonnism
Cloisonnism is a style of post-Impressionist painting with bold and flat forms separated by dark contours. The term was coined by critic Ădouard Dujardin on the occasion of the Salon des IndĂ©pendants, in March 1888. Artists Ămile Bernard, Louis Anquetin, Paul Gauguin, Paul SĂ©rusier, and others started painting in this style in the late 19th century. The name evokes the technique of cloisonnĂ©, where wires (cloisons or "compartments") are soldered to the body of the piece, filled with powdered glass, and then fired. Many of the same painters also described their works as Synthetism, a closely related movement.
In The Yellow Christ (1889), often cited as a quintessential cloisonnist work, Gauguin reduced the image to areas of single colors separated by heavy black outlines. In such works he paid little attention to classical perspective and eliminated subtle gradations of colorâtwo of the most characteristic principles of post-Renaissance painting.
Synthetism in the context of Ămile Bernard (painter)
Ămile Henri Bernard (French pronunciation: [emil ÉÌÊi bÉÊnaÊ]; 28 April 1868 â 16 April 1941) was a French Post-Impressionist painter and writer, who had artistic friendships with Vincent van Gogh, Paul Gauguin and EugĂšne Boch, and at a later time, Paul CĂ©zanne. Most of his notable work was accomplished at a young age, in the years 1886 through 1897. He is also associated with Cloisonnism and Synthetism, two late 19th-century art movements. Less known is Bernard's literary work, comprising plays, poetry, and art criticism as well as art historical statements that contain first-hand information on the crucial period of modern art to which Bernard had contributed.