Paul Gauguin, His Life and Art

tic Eduard Dujardin had spoken of a group calling themselves the Cloissonists

But as a method of painting, it had been derived less from cloisonné

at since 1865 men like Zola, Manet, Monet, Whistler, the de Goncourts-in short the entire gener

close of this year 1889, pinned a frieze of Hokusa

uetin (later ranked with the Syntheticists), does not fully explain the use of Syntheticism with its gre

sm we have divergent statement

rom 1886 to 1889 and who knew personally both Gauguin and Van

and color which exactly suited his state of development, and he then procee

guin was the "incontestable originator" and master of the new movement, to which he gives two names: Neo-Traditionism and Symbolism. In the first account which he wrote of the

nate this ingenious and unp

eye as possible; a wall is empty; cover it with symmetrical spots of form

relief:-metopes of the Greek temp

he Italian primitives, who replace the painted bas-relief by paintings modeled to imitate bas-relief, but in other respects preser

high-relief. This leads from the first a

been repulsed by Gauguin in in 1886. After a brief return to Paris he went off to Saint-Briac, where he covered the walls of the inn with frescoes and painted the windows, in imitation of stained-glass, employing essence of turpentine as a medium. In 1888,

d in which Gauguin was still definitely Impressionist in technique. He maintains that Gauguin abruptly changed his style after the second meeting in 1888, when he firs

ions there are three

sunlight by means of the Impressionistic division of tones. Always purely intuitive as an artist, Gauguin began to realize at Martinique, however vaguely, that one cannot reproduce the natural decomposition o

z Amoureuses et vous serez Heureuses and Soyez Mystérieuses. Moreover, the careful reader of Van Gogh's letters to his brother will find that throughout '88 and '89 Bernard stood in relation to Gauguin as a pupil to a master. Finally, even if Berna

Gauguin was the sole originator of the Synthetic style. That style was derived, perhaps mainly, from the careful study of thirteenth century glass, which does perfectly what Gauguin wished to do: translate the effect of sunlight into luminous color. But it was also derived from Egyptian painting, Byzantine mosaics and the Kakemonos of the

sm," by A.S. Hartrick

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