Cloisonnism

The Cloisonismus ( from the French cloison " partition ") is an art movement within the modernist painting, which was developed in 1888 in the circle of artists of the School of Pont -Aven.

The term was coined by the French art critic Édouard Dujardin and he first used in an article published in the Revue Indépendante on May 9, 1888 article. Dujardin took in relation to the recently part of an exhibition of the Belgian artist group Les XX ( Les Vingt ) shown in Brussels painting by the French painter Louis Anquetin.

The origin of the Cloisonismus is due to the discussions and experiments, which, devoted in response to Neo-Impressionism, Louis Anquetin and Émile Bernard in 1888. Both turned from the Divisionists from, with whom she had previously experimented and developed new strategies together. They found their inspiration from such in Japanese engravings (see Japonism ).

Characteristics of Cloisonismus are rejecting the central perspective, reduction of the image content to its elementären shapes, areal order from most saturated colors, and especially the strong contouring of the land that inspired Édouard Dujardin for his neologism. This referred to the relevant works as quelque chose comme une peinture par « compartiments " analogue au cloisonné, ( German: something like a painting from " compartments ", similar to cloisonné ), so often for the explanation of Cloisonismus on technology the cells melt art ( Cloisonne ) points at which the colored areas are delineated in enamel works by metal bars.

Bernard and Anquetin's achievements were soon picked up by Paul Gauguin and found in synthetism use. Further inspired by Cloisonismus artists were Paul Sérusier and various Nabis, including Henri Matisse, as well as representatives of Expressionism.

Representative works

  • Paul Gauguin: Vision after the Sermon or Jacob wrestling with the angel
  • Paul Gauguin: The Yellow Christ, 1889
  • Vincent Van Gogh: Portrait of Pere Tanguy colors merchant
  • Henri Matisse: The Red Studio
  • Ernst Ludwig Kirchner: Four Bathers
Pont-Aven Albright–Knox Art Gallery Buffalo, New York
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