End of the day

The End of the Day – A Pioneering Vision of Synthetism

Paul Sérusier’s “End of the Day,” painted in 1893 during his formative summer at Pont-Aven, France alongside Vincent van Gogh and Gauguin, stands as a cornerstone of Impressionist abstraction and arguably the genesis of Synthetism – a movement that would profoundly influence the artistic landscape of the early 20th century. More than just a depiction of a tranquil Breton landscape, it’s an audacious experiment in conveying emotion through simplified forms and flattened color palettes.

The painting captures a hazy afternoon scene: a solitary man stands amidst a field dotted with trees, bathed in muted yellows and greens. Sérusier deliberately eschewed meticulous realism, prioritizing instead the expression of feeling. This approach aligns perfectly with Gauguin’s influence – he championed a symbolic language where color and form coalesce to communicate ideas rather than merely representing visual reality.

• Style: Synthetism - Rejecting Impressionistic optical blending, Sérusier sought to distill the essence of his subject into pure pigment.
• Technique: Cloisonnism – This technique involved applying paint in separate blocks or cells of color onto a toned surface, creating a textured and visually arresting effect reminiscent of Byzantine mosaics.
• Color Palette: Dominated by warm yellows and greens, mirroring the golden light filtering through the trees—a deliberate choice to evoke serenity and contemplation.

The composition itself is strikingly simple yet powerfully evocative. The man’s posture suggests introspection, gazing towards an unseen horizon – a gesture that speaks to the broader humanist concerns of the era. Critics noted Sérusier's bold departure from traditional artistic conventions, recognizing him as a visionary who anticipated the stylistic innovations of Cubism and Futurism.

Pont-Aven: A Crucible of Artistic Innovation

Pont-Aven served as an epicenter for artistic experimentation during this period. The group of artists gathered there – Sérusier, Gauguin, Cézanne, Bernard—were united by a desire to transcend Impressionism’s limitations and explore new avenues for artistic expression. They were deeply influenced by Celtic mythology and symbolism, seeking inspiration in ancient traditions.

Sérusier's fascination with Breton landscapes stemmed from his belief that nature possessed inherent spiritual significance. He aimed to capture not just what he saw but what he *felt*, translating visual impressions into emotionally resonant color harmonies. This pursuit of subjective experience was a hallmark of the Symbolist movement, which flourished alongside Synthetism.

The Talisman: An Emblematic Synthesis

"The Talisman," painted shortly before “End of the Day,” solidified Sérusier’s reputation as a pioneer of abstraction. Considered by many to be the first truly non-representational painting in France, it exemplifies the Synthetist aesthetic with its almost entirely flat surface and restricted color range.

This artwork is notable for its deliberate rejection of illusionistic perspective—a technique championed by Cézanne—and instead prioritizing a flattened space that emphasizes color and texture. The talisman itself symbolizes protection and guidance, reflecting Sérusier’s spiritual quest and his desire to communicate profound ideas through visual language.

Legacy and Influence

Paul Sérusier's contribution to art history extends far beyond the stylistic innovations of Synthetism. He instilled a spirit of experimentation and openness in subsequent generations of artists, encouraging them to challenge conventions and pursue their own artistic visions. “End of the Day” remains an enduring testament to his pioneering spirit—a painting that continues to inspire awe and contemplation decades after its creation.