Synthetism is a style of painting that developed out of Cloisonnism. Synthetism formed a current within symbolism. It was practised by Paul Gauguin, Émile Bernard, Louis Anquetin, and others in the late 1880s and early 1890s. The term synthetism derives from the French verb synthétiser (to synthesize or to combine so as to form a new, complex product). It is based on the idea that art should be a synthesis of three features:
The outward appearance of natural forms.
The artist’s feelings about his subject.
Purely aesthetic considerations of line, colour and form.
The term was coined in 1889 when Gauguin and Emile Schuffenecker organized L’Exposition de peintures du groupe impressioniste et synthétiste, an exhibition in the Café Volpini at the Exposition Universelle in Paris. The confusing title acknowledged the artists’ roots in Impressionism, with its adherence to natural forms and the depiction of light, while at the same time highlighting their more recent attempts to abandon nature as the focal point of art. Although realistic (tangible subjects served as the starting-point for synthetist artists), these artists distorted these images in order to express more clearly certain moods or interpretations. Synthetism emphasized two-dimensional flat patterns, thus breaking with Impressionist art and theory. The style shows a conscious effort to work less directly from nature and to rely more upon memory. Synthetist paintings are characterized by bright flat shapes and symbolic treatments of abstract ideas. In 1890, Maurice Denis summarized the goals of Synthetism: ‘It is well to remember that a picture before being a battle horse, a nude woman, or some anecdote, is essentially a flat surface covered with colours assembled in a certain order.’
Synthetist paintings
Paul Serusier - Bois d'amour (Talisman) (1888)
Paul Gauguin - Vision After The Sermon (1888), La Belle Angele (1889), The Loss of Innocence (1890)
Synthetic aperture radar complements photographic and other optical imaging capabilities because of the minimum constraints on time-of-day and atmospheric conditions and because of the unique responses of terrain and cultural targets to radar frequencies.
Synthetic aperture radar technology has provided terrain structural information to geologists for mineral exploration, oil spill boundaries on water to environmentalists, sea state and ice hazard maps to navigators, and reconnaissance and targeting information to military operations.
Range measurement and resolution are achieved in synthetic aperture radar in the same manner as most other radars: Range is determined by precisely measuring the time from transmission of a pulse to receiving the echo from a target and, in the simplest SAR, range resolution is determined by the transmitted pulse width, i.e.
Nearly all synthetic inorganic pigments were discovered or identified in the grand European flowering of inorganic chemistry that occurred in the century after 1750, when European industries sponsored intensive minerological and metallurgical research, and early chemists isolated and identified many new metallic elements — cadmium, cobalt, chromium, zinc, manganese, magnesium, and so on.
Synthetic manufacture was known at least by the 15th century, though large scale production (and common use in artists' paints) did not emerge until the middle 19th century.
This synthetic inorganic pigment was made from the urine of cows fed on mango leaves; crystals of the concentrated dried urine were formed into balls and covered with mud for shipment to England.
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