Cloisonnisme (compartmentalism, compartmental division) is a pictorial technique that consists of encompassing chromatic plaques within the net boundary of a contour, with no chiaroscuro effects, thus creating compact color shapes its formal quality and its paintings have no depth or shadows It needs some decorative effect.
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 boldly eliminated subtle gradations of color—two of the most characteristic principles of post-Renaissance painting.
The cloisonnist separation of colors reflects an appreciation for discontinuity that is characteristic of Modernism.
The cloisonnisme (compartmentalism, division into compartments) is a pictorial technique that consists in enclosing the chromatic fields within the net limit of a contour, without chiaroscuro effects, thus creating compact color spreads.
The term, used the first time by the art critic Édouard Dujardin, evokes the technique, dating back to the Middle Ages, of construction of the windows where the contours of the figures form compartments (cloisons) which surround the individual pieces of colored glass; a similar effect is achieved with the enamel technique on metal, where each color is reserved a space that is filled with glass powder, the artefact is then subjected to high temperatures that melt the glass, going to form compact colors and lacking of chiaroscuro effects. Dujardin wrote that
«These paintings give the impression of a decorative painting, an external layout, a violent and jet color that inevitably recall the imagerie and the giapponeserie. Then, under the hieratic tone of drawing and color, one senses a surprising truth that frees itself from the romanticism of passion, and above all, little by little, our analysis is referred to intentional, rational, intellectual and systematic construction [...] the painter will draw the drawing with closed lines within which will put different tones, the superimposition of which will give the sensation of the general color sought, since color and design interpenetrate each other. The work of this painter is something like a painting by compartments similar to cloisonné, and his technique will be a sort of cloisonnisme »
The cloisonnisme was elaborated by the painters Émile Bernard and Louis Anquetin in 1887 as a reaction to the naturalistic luminism of Impressionism, the tendency to take the creative inspiration no longer on the feeling but on the ideation and on a vision focused on flat areas of intense color and was taken over by Paul Gauguin in his famous Vision after the sermon and the school at Pont-Aven. A decisive polemic arose between Gauguin and Bernard, because the latter believed he had been bypassed and overshadowed despite having been the originator of the technique.
Criticism sees in the systematization of partitioning a development of Japonism. The most conspicuous of the cloisonnists is Paul Gauguin ; the Pont - Aven School will act as a catalyst and a broadcaster for this technique. Other artists, such as Maurice Denis, Vincent van Gogh or Henri de Toulouse-Lautrec will approach cloisonnism, each in their own way. Ephemeral movement and devoid of overt or theory Cloisonnism disappear quickly, while the artists who had practiced move on four, which, in terms Gauguin and Bernard Anquetin, called the synthetism.
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