synthetism

Many of the same painters also described their works as Synthetism, a closely related movement.

He is also associated with Cloisonnism and Synthetism, two late 19th century art movements.

See the painting and learn more about this post-Impressionist painter and the style of synthetism.

His painting later evolved towards Synthetism in which neither form nor color predominate but each has an equal role.

Synthetism emphasized two-dimensional flat patterns, thus differing from impressionist art and theory.

Synthetism's arrangements of flat masses and undulating lines look "felt" as well as drawn.

Bernard was the closest to Gauguin, did the most to help him and, some say, contributed more to Synthetism than he's given credit for.

Earlier, Synthetism has been connected to the term Cloisonnism, and later to Symbolism.

It suggests, too, that Synthetism was not a style in the sense that Impressionism and Divisionism were.

Bernard and his work is associated with Post-Impressionism, Cloisonnism and Synthetism.

He has the knack--characteristic of Synthetism--of giving only the synthetic essence of things."

These illustrations were influenced by the earlier Synthetism of Paul Gauguin and Emile Bernard.

The literary mutation was echoed in local modern art, where the currents emerging from post-Impressionism, Synthetism and Fauvism were being slowly acclimatized.

There, together with Bernard, Gauguin formulated the principles of Synthetism, which fused the artist's subjective reaction to nature with his sense of design.

This is where he laid the foundations of his esthetic maturity by combining the influences of Impressionism, Symbolism and Japanese prints into Synthetism.

Applying the Pont-Aven School approach called Synthetism, he merged the actual appearance of the scene, his emotional reaction to it, and his artistic sense of design.

Symbolism: a term highly welcomed by vanguard critics in 1891, when Gauguin dropped Synthetism as soon as he was acclaimed to be the leader of Symbolism in painting.

In his essay "On Synthetism" (1922), Yevgeny Zamyatin writes that "[Annenkov] has a keen awareness of the extraordinary rush and dynamism of our epoch.

Synthetism: another short-lived term coined in 1889 to distinguish recent works of Gauguin and Bernard from that of more traditional Impressionists exhibiting with them at the Café Volpini.

By 1890, the year in which Vuillard met Pierre Bonnard and Paul Sérusier, he had joined the Nabis, a group of art students inspired by the synthetism of Gauguin.

Although not evident in the few paintings that survive from this period it is in his drawings, early prints, and two surviving wax panels that the obvious influence of Pont-Aven synthetism can be seen.

The first major work on view here, "Children Wrestling," painted in Pont-Aven in the summer of 1888, epitomizes Gauguin's early Synthetism: the pitched perspective, the simplified forms, the chromatic liberties.

Paul Sérusier (9 November 1864 - 7 October 1927) was a French painter who was a pioneer of abstract art and an inspiration for the avant-garde Nabi movement, Synthetism and Cloisonnism.

The style developed in Pont-Aven by Gauguin and Bernard was known as Synthetism as it was designed to synthetise or combine images, producing a new result which was quite different from Impressionism.

One of two Bretons in the group, Maufra was no slave to Synthetism either, but he is noticeably inspired by Japanese art in his view of waves pounding on dark rocks, another etching with aquatint.