Vision After the Sermon

surface prep

While specific surface preparation for this exact canvas is not detailed in the sources, Gauguin’s move toward Synthetism involved a departure from traditional academic grounds. The artist likely used a standard primed canvas, but the focus should be on ensuring the surface is smooth enough to allow for the application of flat, unmodulated color fields without texture interfering with the bold outlines (Source 6).

underdrawing

Gauguin’s style in this period emphasizes strong contour lines and flat color, suggesting that the underdrawing may have been minimal or integrated directly into the first layer of paint to define the 'cloisonné' compartments. Sources note he used 'strong contour lines rather than gradual shifts in tone' (Source 1), implying the line work is a primary structural element, possibly drawn directly in paint.

underpainting

The sources do not describe a traditional grisaille or tonal underpainting for this work. Instead, Gauguin applies 'large areas of flat color' directly (Source 1). The technique relies on the juxtaposition of pure colors rather than building form through shadow and light in an underlayer.

Cloisonnism

Painting with flat areas of color separated by heavy black outlines, reminiscent of medieval cloisonné enameling. This technique eliminates subtle gradations of color and classical perspective (Source 6).

Synthetism

A style where neither form nor color predominates, but each has an equal role. It involves interpreting subject matter in a highly personal, symbolic way rather than naturalistically (Source 5).

Japanese Print Influence

Use of diagonal compositions, flat color planes, and bold outlines inspired by Hiroshige and Hokusai. This includes the non-naturalistic landscape and the framing of subjects (Source 1).