Synthetism
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Synthetism is the style of post-Impressionistic art that developed from cloisonnism and is related to Symbolism.
The word synthetism comes from the French verb synthétiser (to synthesize or to combine so as to form a new, complex product).
Paul Gauguin, Émile Bernard, Louis Anquetin, and others pioneered the style during the late 1880s and early 1890s.
Synthetist artists aimed to synthesize three features:
- The outward appearance of natural forms.
- The artist’s feelings about his subject.
- The purity of the aesthetic considerations of line, colour and form.
In 1890, Maurice Denis summarized the goals for synthetism as,
- It is well to remember that a picture before being a battle horse, a nude woman, or some anecdote, is essentially a flat surface covered with colours assembled in a certain order.
The term was first used in 1876 to distinguish between scientific and naturalistic impressionism, and in 1889 when Gauguin and Emile Schuffenecker organized L’Exposition de peintures du groupe impressioniste et synthétiste, an exhibition in the Café Volpini at the Exposition Universelle in Paris. The confusing title has been mistakenly associated with impressionism, a style adhering to emphasis on natural form and depiction of light in which the theme of nature is not the central point of attention. Although synthetic artists used tangible objects as beginning points, impressionist artists painted to express moods and interpretations. Synthetism emphasized two-dimensional flat patterns, thus differing from impressionist art and theory.
Synthetist paintings
- Paul Serusier - Talisman (Bois d'amour) (1888)
- Paul Gauguin - Vision After The Sermon (1888), La Belle Angele (1889), The Loss of Innocence (1890)
- Émile Bernard - Buckwheat Harvest (1888)
- Cuno Amiet - Breton Spinner (1893)