Gauguin and the school of pont-aven
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Cloisonnisme
O cloisonnisme[1] é um estilo da pintura pós-impressionista caracterizado por cores lisas delimitadas por contornos escuros. O termo foi utilizado pelo crítico Édouard Dujardin por ocasião do Salão dos Independentes em Março de 1888.[2] Os artistas Émile Bernard, Louis Anquetin, Paul Gauguin, Paul Sérusier, e outros, começaram a pintar com este estilo no final do século XIX. O nome remete para a técnica de cloisonné, onde arames (cloisons ou "compartimentos") são soldados ao corpo da peça, enchidos com pó de vidro e, em seguida, colocados no meio de chamas a altas temperaturas, numa técnica semelhante ao do vitral. Muitos daqueles pintores descrevem os seus trabalhos como sintetismo, um movimento com algumas semelhanças.
No Cristo Amarelo (1889), muito citado como o melhor exemplo de cloisonnisme, Gauguin reduz a imagem a áreas de uma única cor separadas por linhas escuras muito carregadas. Nestes trabalhos, ele deixa de lado a perspectiva clássica, e elimina as transições de cores (as gradações cromáticas como o degradê ou as técnicas de sensaç
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21. Colossal Head
Late Third or early Fourth Dynasty
Red granite
H. 54.3 cm (2103/8 in.); w. 29 cm (11 1/2 in.)
Brooklyn Museum of Art, Charles Edwin Wilbour Fund 46.167
This larger-than-lifesize head is generally dated to the beginning of the Old Kingdom, between the end of the Third Dynasty and the reign of Khufu near the beginning of the Fourth. Unfortunately, because there is no inscription and the provenance is unknown, the subject's identity can be discussed solely on the basis of style. The head is unusually large. Few colossal statues were made in the Old Kingdom, but the earliest of them date from the Third Dynasty, in Djoser's time, when monumental architecture in stone began to flourish. King Khafre also was a great builder (cat. no. 65) and left monumental sculptures depicting members of his family.
This statue is carved in a hard red granite whose surface has never been polished. Traces of a white coating on the crown suggest it was painted. The very broad face evokes the countenance of a tiny ivory statuette inscribed with the name of Khufu in the Egyptian Mus
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Stone vessels of the Old Kingdom are luxury items that owe their beauty to skilled craftsmanship and an exquisite sense of refinement in design and decoration. The art of stone-vessel making goes back almost to the beginning of Egyptian history, and consequently, in the Third Dynasty, when King Djoser's artisans were given the task of producing tens of thousands of stone vases for the subterranean storerooms of his Step Pyramid at Saqqara (cat. no. 5),1 they were fully equipped to meet the demand. Since the fifth millennium b.c.e., long before stone was used for building and statuary, vessels had been fashioned from hard stones; indeed, the art had reached its peak just before the reign of Djoser, during the first two dynasties,2 with the production of vessels that imitated in extremely hard and brittle stone, and with astonishing accuracy, such flimsy items as a basket made of reeds and the leaf of a lotus plant.3
Stone Materials
By the Third Dynasty, stone-vessel making had become a somewhat more conventional craft than it had been during Archaic times. The materials use
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