Symbolism Simplified
When an item or phrase is used to symbolise an abstract concept, it’s known as symbolism. People, places, words, and objects all have symbolic meanings that may be interpreted in many ways. In order to convey a specific atmosphere or sentiment, writers utilise symbolism rather than just speaking it out loud.
Summary of Symbolism
Symbolism, in contrast to Impressionism, placed more focus on the symbolic meaning underlying the forms, lines, and colours than did Impressionism on the physical reality of the painted surface. Representational art has come to an end in certain cases, as shown by works by some of its practitioners. At the same time, modernism’s use of new, abstract tools to represent psychological truth and the belief that the physical world contains a spiritual dimension may be understood as a product of symbolism. Symbolists were able to give expression to the inexpressible, such as dreams and visions.
It is the focus on subjectivity and emotion above reality that unifies the numerous artists and styles linked with Symbolism. Their art is very personal and reflects their own worldviews, especially their faith in the artist’s ability to uncover the truth.
The Symbolists incorporated religious mysticism, the perverted, the sensual, and the decadent into their work. The occult, the morbid, the dream realm, sadness, evil, and death are all common themes in symbolist art.
When it came to symbolism in art in the early 20th century, the Symbolist painters strived for subtlety and suggestion rather than straightforward, one-to-one relationships like older types of popular iconography.
Transition from Romanticism to Modernism was made possible by Symbolism in the first decades of the nineteenth century. As a result, it calls into question the widely accepted belief that contemporary art in France proceeded from Impressionism to Cubism.
Why is it Called Symbolism?
Since its inception, the word has been used to define the poetry of Stéphane Mallarmé and Paul Verlaine by French critic Jean Moréas. Erotic and mystical material fueled the work of symbolist painters and authors as well as new psychological elements. …
Everything About Symbolism
The Beginnings
It was the authors Gustave Kahn and Jean Moréas, who coined the word “Symbolism” in 1886, who established the roots of Symbolism. Stéphane Mallarmé and Paul Verlaine, two influential poets, were rejected by these authors, who preferred the subjectivity of Mallarmé and Verlaine. When Paul Gauguin, James Abbott McNeill Whistler and Odilon Redon were in Paris, Mallarmé held weekly gatherings for Symbolist painters like Edvard Munch and Paul Gauguin.
Symbolism was the opposite of Impressionism in that it focused on the message underlying the forms and colours rather than on their appearance. As post-impressionist artists Vincent Van Gogh and Paul Gauguin both bemoaned the contemporary world’s deteriorating spiritual condition, this painting’s message resonated with many people today. However, the mainstream Symbolists had a stronger interest in the internal life rather than the exterior actuality of their paintings. Early 19th-century Romanticism’s focus on the imagination rather than reason and the concepts originally expressed in the poet Charles Baudelaire’s Les Fleurs du Mal were the roots of symbolism in the visual arts (1857). Paintings and poems by William Blake, the aestheticism of the Pre-Raphaelite Brotherhood in England as well as works by Edward Burne-Jones and Dante Gabriel Rosetti are some examples of additional sources.
Moralism, rationalism, and materialism were all under attack at the time, and symbolism was a response to them all. This was a time of malaise – an illness of unhappiness – in the last years of the twentieth century. For many artists, Symbolism was a way to escape from the constraints and limitations of realism in their work, much as ballet and cabaret were.
Concepts in Symbolism
Confusion about moral, social, religious, and intellectual beliefs pervaded the Symbolist era. After a while, the globe had grown beyond the boundaries of Europe, and socialism’s good goals had faded away. Religion and the link between love and marriage were also being debated. The bourgeoisie, in particular, saw artists as aloof and elitist. Even yet, Symbolism represented the anti-materialist ideas that were obsessed with mysticism and the notion of the spiritual, which was highly significant in its growth (a direct connection and unity with the ultimate reality). The occult and a penchant for the macabre and the perverse were closely linked to this notion, since this time is frequently referred to as “decadence” (a period of artistic or moral decline as seen in the preference for the artificial over the natural – and by extension, the idea that even humanity was in decline). Wilde’s works and Joris-Karl Huysman’s Rebours (Against Nature) (1884), as well as the art of numerous Symbolists, show this degeneration.
A major point of emphasis for the painters and authors of Symbolism was that they were opposed to the practical uses of art (that is, they were distinct from the Art Nouveau artists), and they also thought that art did not have to be based on daily life.
Symbolist aesthetics need a thorough grasp of synthetism, which is particularly relevant. New worlds were created by synthesising aspects from the actual world with other works of art or other genres of art. According to philosopher Arthur Schopenhauer, music is an art form that conveys its meaning directly, and the Symbolists were interested in incorporating this notion into their work. The visual artists drew inspiration from this aspect of music. Compositional techniques like leitmotifs (repeating components that unite the piece) were also used by the composers. Symbolist painters were drawn to Richard Wagner’s music, which they felt had spiritual qualities and a vision of a unified creative form. As a result, the Symbolists strove to convey inarticulate experiences in some type of sensory form, whether visual or audial.
Symbolism is a subspecies of Art Nouveau. In Aubrey Beardsley’s work, for example, there is a significant lot of overlap between Art Nouveau and Symbolism, but Art Nouveau is much more explicitly a decorative style based on organic form that can be applied to any item that may be rendered “artistic,” such as jewellery and furniture. Victor Horta’s work in Belgium is often seen as the beginning of the movement. But soon after, the trend spread over the world. By creating an aesthetic that could be applied to various creative forms, the Art Nouveau movement was designed to meet the requirements of the machine era and today’s contemporary society.
Symbolism in the visual arts is often referred to as an attitude toward the topic rather than a movement, as it was in literature. Artworks by Symbolist painters of the late 19th century generally depicted esoteric, spiritual, mystical, and occasionally mysterious themes that were inspired by the apparent decadence of the time. This vision was shared by artists from across the world in differing degrees and from a variety of visual sources. In France, where the name “Symbolism” was originally used to characterise this phenomena, and where the aesthetic was first formalised, we begin our investigation.
French Symbolist painters Gustave Moreau and Odilon Redon were two of the most prominent. Romantic painters like Eugène Delacroix and the exotic were of great interest to Moreau. Aside from the Romantics, Redon also drew inspiration from Francisco Goya, which explains why his work is so disturbing.
When Paul Sérusier painted The Talisman in 1888, it was the beginning of a Symbolist movement known as the Nabis (meaning “prophets,” or “seer”). To the Nabis, the artist was a priest with the capacity to see what others couldn’t. The Nabis were neither religious or political, but they shared a desire to connect with a greater force. When it comes to style and subject matter they were more influenced by Gauguin’s work, which is shown in flatness and stylization even when the subject matter is different, like in the case of Édouard Vuillard and Pierre Bonnard’s work. La Revue Blanche, a Symbolist journal, featured a number of Nabis painters with their literary equivalents.
They were a group of painters led by Sar Joséphin Péladan, who adhered to the esoteric teachings of the claimed 15th-century visionary, Christian Rosenkreuz. When the Renaissance and Catholic art was revitalised by them, it had occult connotations yet they rejected the materialism of their day. They were able to experience religious revelation via art. Although they used mystical allegories, the style of their work was more conventional. From 1892 until 1897, the Symbolists Charles Filiger, Armand Point, and Marcellin Desboutin showed in the Rose and Croix Salons in Paris. Salons like this were important because they showcased the work of artists from outside of France.
There was a strong focus on the sexual in the work of Aubrey Beardsley and Oscar Wilde in the 1890s, which may be defined as “decadent,” Beadsley’s work tackled subjects such as King Arthur’s fantasy realm, the femme fatale, Richard Wagner’s music, and dandyism, among others. He is also connected with Art Nouveau, a style that has some resemblance to Beardsley’s work because of its elongated lines.
Arnold Böcklin’s “mood landscapes,” were made in Switzerland by combining pictures from his mind. He was influenced by works by Ferdinand Hodler, a fellow countryman, such as Night (1896) and Day (1899), which utilise more personification and allegory than symbols, yet the poses and movements of the figures do appear to represent states of being. Giovanni Segantini, an Italian painter, depicted the Swiss Alps in a supernatural light. Jan Toorop and Johan Thorn Prikker, two of the most famous Symbolist painters of their time, were both born in Holland. Leon Bakst and other Russian Symbolist painters provided stage designs. Although he created dark allegories, Alfred Pinkham Ryder is regarded a unique artist and not a member of any one movement. Arthur B. Davies and Maurice Prendergast, on the other hand, only partly participated in the Symbolist vision.
The End of Symbolism
Gustav Klimt and Edvard Munch are two of the outstanding examples of later Symbolist art. Art before to World War I was seen as a conclusion in the work of the former, but the work of the latter was and remained current for the whole of his career.
Klimt’s use of symbols in his art
Gustav Klimt, the Austrian artist who founded the Viennese Secession movement in 1897, is best known for his Symbolist works. In order to advance the contemporary, more abstract path, which also included more problematic material resembling Freud’s latest discoveries, this shift required a rejection of the salon system and other academic institutions. According to several historians, the Art Nouveau movement helped to supersede the Symbolists because of its quick worldwide expansion. His work has been dubbed the “last fruits of the Symbolist harvest.” because of the eclecticism of his many influences. In several of his works, despite their subject matter being Symbolist, he tried to integrate the arts and crafts in a manner comparable to the Art Nouveau ideal, but distinct from other Symbolist painters who were more concerned in “art for art’s sake.”
Edvard Munch’s symbolism
The German Berlin Secession was more conservative than the Austrian, despite mounting an exhibition of Norwegian painter Edvard Munch’s more avant-garde work. After his death, Munch was one of the best-known and most prolific artists in history. According to one critic, Munch “long before it was enunciated elsewhere, he embodied the doctrine that the modern artist puts himself personally at risk in his art – that in giving life to his creations, he necessarily risks his own.” before it was enunciated anywhere else about his work. One of the most important aspects of Munch’s work, however, is that it is more expressive than other Symbolists since it employs figures’ postures and actions to continually generate new meaning.
On the other hand, Expressionist artist Oskar Kokoschka used Symbolist motifs in his later work, such as his 1914 painting The Bride of the Wind (1914), which depicts two lovers on a boat. In his Blue and Rose Periods of Pablo Picasso, the young artist uses symbols like the clown to represent the “outsider,” which is a common theme in Symbolist art.
As World War I approached, there was a rising sense of discontent with Symbolism’s over-refinement and obscurity, as many artists sought to go toward the raw and “primitive,” even if war was part of the solution.
Key Art in Symbolism
Jupiter and Semele
By Gustave Moreau
1895
Semele (the earthly incarnation of everything that is divine) requests that Jupiter make love to her after Jupiter’s wife Juno suggests it to her. This picture depicts the tale of Jupiter, the heavenly ruler of the gods, and Semele (the earthly embodiment of everything divine). While acknowledging she would be engulfed by his light and his divinity, Jupiter cannot resist the lure of her beauty (he is crowned with thunderbolts). As a result, the picture serves as a metaphor for the human experience of oneness with God, which culminates in death. As the artist, on the other hand, put it: “Everything has been altered, cleaned, and made more beautiful. When it comes to immortality, the Divine is all around us.” Death, decay, and resurrection all feature prominently. Symbolism’s more contemporary components were not emphasised by Moreau because of the richness of detail and colour in his paintings, which he modelled after Wagner’s music. As with Symbolism, meaning is derived from the shapes themselves; humanity is shown as tiny and defenceless in its fleshy voluptuousness. As an androgynous figure, Jupiter represents the solitary existence of the artist in search of inspiration. As a crucial figure in any study of Symbolism, Moreau brought literary components of Symbolism to the fore, while also pointing out some of the contemporary age’s neuroses in his work.
The Eye Like a Strange Balloon Mounts Toward Infinity
By Odilon Redon
1882
Edgar Allan Poe had died 33 years before the lithograph was made, and Charles Baudelaire and Stéphane Mallarmé had both translated his works between 1852 and 1872, but this is not an illustrated narrative of Poe’s work; rather, it is parallel to it in its evocation of the macabre world in which the writer dwells. The all-seeing eye of God is a well-known emblem, yet here it is reimagined. The huge eye is a representation of the spirit emerging from the swamp’s decayed substance. It is a physical organ that stares toward the heavens, and it carries the deceased skull along on the journey. The foggy area and the glowing halo around the primary picture help convey the feeling of the supernatural. The piece generates a feeling of enchantment and awe in a dreamlike realm. Contrary to what some would think, Redon’s paintings aren’t influenced by Surrealism, since they are designed to convey one precise, clear notion.
Death and the Masks
By James Ensor
1892
With its terrifying smile, the skull of Death is brought to life in Ensor’s work; the masks of the people are also given realistic features; the mask becomes the face, but it’s still only a mask that seeks to cover up hollowness and decadence in society. Composition shows that this is an ongoing issue and that the painting serves as the artist’s commentary on our current society. Having grown up in the family souvenir store that sold carnival-themed papier-mache masks, Ensor had a natural affinity for masks. It was Ensor’s hope that local carnivals and festivals in his home Belgium would revert to its “pure and natural” form in order to promote cultural harmony, but he soon understood that mass tourism, commercialism, and industrialisation would thwart his plans.
The Three Brides
By Jan Toorop
1893
From Javanese puppet theatres, these gaunt creatures with slender arms and dramatic motions are derived (Toorop was a Dutch artist who was born in Java). Three brides, each representing a different condition of the soul, are shown by the artist in an allegory of the three states of the soul: the one committed to Christ, the one dedicated to earthly love, and the one dedicated to Satan. In addition to the obvious emblems of the Passion (lilies, roses, and a basin of blood), they are flanked by handmaidens. The suffering of life is symbolised by a bed of thorns. This work attempts to represent another feeling by using bells suspended from a nailed figure and the accompanying flowing rhythms. The English book illustration area is where the linear rhythms in the backdrop come from. The result is a faint and monochromatic look.
The Dance of Life
By Edvard Munch
1899-1900
Three women are shown in Munch’s work: the virgin in white, the lady of experience in red, and the demonic woman of old age in black. The water represents all that lies beyond, including death and the immense unknown that awaits us all. For the time being, at least, death is held at bay by the dance. A lone female figure stands in the shadow of the Freudian masculine phallic symbol of the setting sun. Another female image in white is surrounded by a group of masculine figures in black and white (or perhaps the same one at a different moment). A lustful male figure reaches out his hand to his companion, who is leaning away from him, at the right centre ground. Gunnar Heiberg, the dramatist who introduced Munch to Larsen and of whom he was envious, has been recognised as the caricatured masculine figure in this painting. Larsen and Munch are shown as a pair in the front, with their lower bodies metaphorically intertwined via their contours. There is a distinct difference in their expressions, though. Despite the fact that the dancers are intended to be moving, the figures in the composition seem to be frozen in place. Arthur Schopenhauer’s pessimism and fatalistic thought affected Munch. As it is, their destiny is sealed: they never wed nor had children. As a result, the dance of life is simultaneously a dance of death. The contemporary idea of alienation and isolation, which captivated so many authors and painters in the next century, was first iterated by Munch in this and other works.
Death and Life
By Gustav Klimt
1908-1916
The 17th-century topic of vanitas (the futility of earthly life) is updated in this work, and Death looks across the blank space while Life exposes itself in the figures that come into being, exist, and pass away. Pessimism of the time saw the universe as driven by sexual (as opposed to immoral) drives, part of a mindless need to breed, and this artwork participates in that pessimism. This artwork, on the other hand, has a focus on the voluptuousness of both its people and its patterns. Klimt was inspired by Japanese art, Minoan art, and the Byzantine mosaics he saw in Ravenna when he created these designs. Flat, exquisite, shimmering pattern and more scholarly treatment of figures – abstraction and representation are at odds with each other in this piece The ornamental scheme holds the characters in place and negates their physicality. Rather, they function as emblems for various states of being. It has been noted that Klimt’s human subjects seem to be unfazed by the presence of death; rather, they appear to be accepting of it. Klimt was nearing death at the time of this painting, and maybe the work’s passive nature is a symbol of his acceptance of that reality. Sigmund Freud, a native of Vienna, was also a major influence on the picture, which depicts eros (sexual desire for the sake of life) and thanatos (the desire for death) (the death instinct for the purpose of ending the anxieties of life). Because of his use of contentious and avant-garde themes prevalent in Freud’s work and Klimt’s influence on Moreau’s work, Klimt not only helped move Symbolism from its more conventional approach.
Information Citations
En.wikipedia.org, https://en.wikipedia.org/.
