Cloisonnism vs Fauvism
クロワゾニスム / フォーヴィスム
Cloisonnism comes from Fin de Siècle Art and Fauvism from Avant-garde. Both are read here as style. They are reached for with different intent, which is the fastest way to tell them apart.
Cloisonnism
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A manner of painting named after the partitions of cloisonné enamel: flat fields of colour enclosed by heavy contour lines. It brought the way of seeing of ukiyo-e prints and stained glass into oil painting, abandoning shaded volume in favour of colour laid down from memory. The technique that prepared the flatness of the poster.
Fauvism
A short-lived movement that severed colour from the depiction of its subject, slamming pure hues onto the canvas as flat planes. The brushstroke itself carries the contour, and adjacent complementaries make the surface vibrate. It became the starting point for every later design that uses colour as a device of emotion.
| Cloisonnism | Fauvism | |
|---|---|---|
| Era | 1888–1895 | 1904–1908 |
| Family | Fin de Siècle Art | Avant-garde |
| Kind | Style | Style |
| Cues | Thick, dark contour lines / Flat colour fields without shading / Decoratively simplified shapes / Colouring drawn from memory | Pure colour straight from the tube / Complementaries set directly side by side / Bare white ground left unpainted / Rough brushstrokes doubling as contours |
| Best used for | Work built cell by cell in separate colours, like stained glass or tilework · Drawing a remembered landscape in simple shapes and colour rather than from life | Announcing a festival or event with no photography, letting saturated colour carry it · Painting outdoor walls or banners so the lift of the colour carries from a distance |
| Type | Set lettering outside the cells in black at the keyline weight, hand drawn or slab | Brush lettered forms, nothing geometric, read by complementary against the ground |
| Composition | Divide the picture into a few large cells, edge to edge, partitioned by heavy lines | No drawn contour, form set only where colours meet, bare ground left breathing |
| Material | Flat unmodulated colour from memory inside dark contours, with no shadow or gradient | Unmixed saturated pigment, vermilion, viridian and cobalt, laid thick on untouched white |
| Caution | Adding heavy outlines afterwards produces no division of colour, only an ordinary picture inside lines. Letting shading or depth back into the cells breaks the enamel like flatness. | Covering the whole surface with strong colour stops the vibration between neighbours and leaves noise. Always keep the bare white ground that lets the clash register. |