Cloisonnism vs Post-Impressionism
クロワゾニスム / ポスト印象主義
Cloisonnism comes from Fin de Siècle Art and Post-Impressionism from Painting Techniques. Both are read here as style. They are reached for with some of the same intent, which is where they get confused.
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.
Post-Impressionism
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A collective name for painters who found the improvisation of Impressionism insufficient and recovered structure, symbol and emotion, each in their own way. It is not one style but several answers standing side by side, among them pointillism, flat fields of color and surging brushwork. Twentieth century abstraction branched off from here.
| Cloisonnism | Post-Impressionism | |
|---|---|---|
| Era | 1888–1895 | 1880s–1900s |
| Family | Fin de Siècle Art | Painting Techniques |
| Kind | Style | Style |
| Cues | Thick, dark contour lines / Flat colour fields without shading / Decoratively simplified shapes / Colouring drawn from memory | A constructed order of brushstrokes / Flat, forceful fields of color / Undulating line that carries emotion / Inquiry into form ahead of subject |
| 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 | Showing in a single image what happened after Impressionism · Comparing cases where one subject was solved by different methods |
| Type | Set lettering outside the cells in black at the keyline weight, hand drawn or slab | Change the typeface with each manner and do not aim for uniformity. |
| Composition | Divide the picture into a few large cells, edge to edge, partitioned by heavy lines | Give priority to building planes and break perspective on purpose. |
| Material | Flat unmodulated colour from memory inside dark contours, with no shadow or gradient | Thick paint, with the borders between fields of color left visible. |
| 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. | Do not treat it as a single style. Name each time whose solution you mean. |