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"Anything that overloads a spectacle [of nature]covers it with reality and occupies our eyes to the detriment of our minds. We must simplify in order to disclose its meaning." - Émile Bernard
Bernard and GAUGUIN together devised a new approach to painting that rejected the tenets of IMPRESSIONISM and sought a simplified, almost "naive" approach- they even talked of imitating the art of children. Between 1886 and 1887, with Louis Anquetin (1861-1932) and TOULOUSE-LAUTREC, Bernard developed the style of flattened, outlined figures called (in February 1888) CLOISONNISM because it was reminiscent of CLOISONNE. Bernard defined his style as "a simplified handwriting which endeavored to catch the symbolism inherent in nature." Breton Women in the Fields (1888), painted the same year as Gauguin's The Vision After the Sermon(Jacob Wrestling with the Angel), is an example of the two artists' similar stylistic approach. They also used the term SYNTHETISI\l, introduced by Gauguin. There is little agreement about whether Gauguin was the leader or the follower in the stylistic breakthrough they achieved; however, it is certain that Bernard was the more intellectual of the two. A breach between them occurred when they exhibited with the Impressionist and Synthetist Group at the Cafe des Arts, outside the grounds of the Exposition Universelle, or World's Fair, of 1889. The eight artists who exhibited were selected by Gauguin, and the deference paid to Gauguin alienated Bernard. In 1891 Bernard published the first lengthy article about CEZANNE, whom he had not yet met but whose work he greatly admired. Bernard spent several years in Cairo, and on his return visited Cezanne. Later they corresponded. It was to Bernard that Cezanne made his famous comment about treating nature "by the cylinder, the sphere, the cone." In his writings Bernard promoted the work of both Cezanne and REDON.
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