| Description |
255 pages : illustrations (some color), portraits ; 33 cm |
| Contents |
The Great upheaval -- France -- Great Britain and the United States -- Belgium and the Netherlands -- German-speaking countries and Scandinavia -- The Slav countries -- The Mediterranean countries -- Post-symbolism -- Biographies -- Selected bibliography -- Table of ilustrations |
| Summary |
"To clothe the idea in perceptible form" proposed the poet Jean Moteas in his 1886 Manifesto of Symbolism. It was in France and Belgium, the cradles of literary Symbolism, that Symbolist painting was born. It plunged headlong into the cultural space opened up by the poetry of Baudelaire and Mallarme and by the operas of Wagner. Symbolist painters sought not to represent appearances but to express "the idea", and the imaginary therefore plays an important part in their work. "Dream", was their credo; they execrated, with a fanatical hatred, impressionism, realism, naturalism, and the scientistic. The main principle of Symbolism, that of "correspondences", was to attain harmony between all the different arts, or even to realise the total work of art (Gesamtkunstwerk) that Wagner had dreamt of creating |
| Analysis |
Symbolism (Art movement) |
|
Symbolism in art |
| Notes |
Includes index |
| Bibliography |
Includes bibliographical references (pages 246-247) and index |
| Notes |
Includes illustration captions translated from the French |
| Subject |
Art, Modern -- 19th century -- Europe.
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Painting, Modern -- 19th century -- Europe.
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Art, Modern -- 19th century.
|
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Symbolism (Art movement)
|
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Symbolism (Art movement) -- Europe.
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| Author |
Néret, Gilles.
|
| ISBN |
3822893242 |
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