Il miglior simbolismo di sempre: Böcklin, Chavannes e Moreau
Il simbolismo si manifestò nella letteratura, nelle arti figurative e di riflesso nella musica. Sebbene manifestazioni di arte simbolista si siano avute anche prima del XIX secolo, convenzionalmente si fa coincidere la sua data di nascita con la pubblicazione del Manifesto del Simbolismo del poeta Jean Moréas.
Generalmente, fu un movimento artistico della fine del XIX di origine francese, russa e belga. In letteratura, lo stile nacque dalla pubblicazione, nel 1857, de “Les Fleurs du mal” di Charles Baudelaire. Le opere di Edgar Allan Poe, che Baudelaire ammirava molto e tradusse in francese, furono un'influenza significativa e la fonte di molti tropi e immagini. L'estetica fu sviluppata da Stéphane Mallarmé e Paul Verlaine negli anni 1860 e 1870; fu articolata da una serie di manifesti e attirò una generazione di scrittori. Jean Moréas inventò il termine per distinguere i simbolisti dai decadenti della letteratura e dell'arte. A suo modo diverso, ma legato allo stile della letteratura, il simbolismo nell'arte è collegato alla componente gotica del romanticismo e dell'impressionismo.
Eppure vissero nella stessa epoca gruppi piuttosto diversi di pittori simbolisti e artisti visivi, tra cui Gustave Moreau, Gustav Klimt, Mikalojus Konstantinas Čiurlionis, Jacek Malczewski, Odilon Redon, Pierre Puvis de Chavannes, Henri Fantin-Latour, Gaston Bussière, Edvard Munch, Félicien Rops e Jan Toorop. Il simbolismo nella pittura fu ancor più diffuso geograficamente del simbolismo nella poesia, colpendo Mikhail Vrubel, Nicholas Roerich, Victor Borisov-Musatov, Martiros Saryan, Mikhail Nesterov, Léon Bakst, Elena Gorokhova in Russia, così come Frida Kahlo in Messico, Elihu Vedder, Remedios Varo, Morris Graves e David Chetlahe Paladin negli Stati Uniti. Auguste Rodin è talvolta considerato uno scultore simbolista.
I pittori simbolisti usavano immagini mitologiche e oniriche. I simboli usati dal simbolismo non sono gli emblemi familiari dell'iconografia tradizionale ma riferimenti intensamente personali, privati, oscuri e ambigui. Più una filosofia che un vero stile artistico, il simbolismo nella pittura ha influenzato l’Art Nouveau contemporanea e Les Nabis.
Symbolism manifested itself in literature, in the figurative arts and consequently in music. Although manifestations of symbolist art took place even before the nineteenth century, conventionally its birth coincides with the publication of the Symbolism Manifesto of the poet Jean Moréas.
Generally was a late nineteenth-century art movement of French, Russian and Belgian origin in poetry and other arts. In literature, the style originates with the 1857 publication of Charles Baudelaire's Les Fleurs du mal. The works of Edgar Allan Poe, which Baudelaire admired greatly and translated into French, were a significant influence and the source of many stock tropes and images. The aesthetic was developed by Stéphane Mallarmé and Paul Verlaine during the 1860s and 1870s; and was articulated by a series of manifestos and attracted a generation of writers. Jean Moréas invented the term to distinguish the Symbolists from the related Decadents of literature and of art. Distinct from, but related to, the style of literature, symbolism in art is related to the gothic component of Romanticism and Impressionism.
Yet there were several rather dissimilar groups of Symbolist painters and visual artists, which included Gustave Moreau, Gustav Klimt, Mikalojus Konstantinas Čiurlionis, Jacek Malczewski, Odilon Redon, Pierre Puvis de Chavannes, Henri Fantin-Latour, Gaston Bussière, Edvard Munch, Félicien Rops, and Jan Toorop. Symbolism in painting was even more widespread geographically than symbolism in poetry, affecting Mikhail Vrubel, Nicholas Roerich, Victor Borisov-Musatov, Martiros Saryan, Mikhail Nesterov, Léon Bakst, Elena Gorokhova in Russia, as well as Frida Kahlo in Mexico, Elihu Vedder, Remedios Varo, Morris Graves and David Chetlahe Paladin in the United States. Auguste Rodin is sometimes considered a symbolist sculptor.
The symbolist painters used mythological and dream imagery. The symbols used by symbolism are not the familiar emblems of mainstream iconography but intensely personal, private, obscure and ambiguous references. More a philosophy than an actual style of art, symbolism in painting influenced the contemporary Art Nouveau style and Les Nabis.
Generalmente, fu un movimento artistico della fine del XIX di origine francese, russa e belga. In letteratura, lo stile nacque dalla pubblicazione, nel 1857, de “Les Fleurs du mal” di Charles Baudelaire. Le opere di Edgar Allan Poe, che Baudelaire ammirava molto e tradusse in francese, furono un'influenza significativa e la fonte di molti tropi e immagini. L'estetica fu sviluppata da Stéphane Mallarmé e Paul Verlaine negli anni 1860 e 1870; fu articolata da una serie di manifesti e attirò una generazione di scrittori. Jean Moréas inventò il termine per distinguere i simbolisti dai decadenti della letteratura e dell'arte. A suo modo diverso, ma legato allo stile della letteratura, il simbolismo nell'arte è collegato alla componente gotica del romanticismo e dell'impressionismo.
Eppure vissero nella stessa epoca gruppi piuttosto diversi di pittori simbolisti e artisti visivi, tra cui Gustave Moreau, Gustav Klimt, Mikalojus Konstantinas Čiurlionis, Jacek Malczewski, Odilon Redon, Pierre Puvis de Chavannes, Henri Fantin-Latour, Gaston Bussière, Edvard Munch, Félicien Rops e Jan Toorop. Il simbolismo nella pittura fu ancor più diffuso geograficamente del simbolismo nella poesia, colpendo Mikhail Vrubel, Nicholas Roerich, Victor Borisov-Musatov, Martiros Saryan, Mikhail Nesterov, Léon Bakst, Elena Gorokhova in Russia, così come Frida Kahlo in Messico, Elihu Vedder, Remedios Varo, Morris Graves e David Chetlahe Paladin negli Stati Uniti. Auguste Rodin è talvolta considerato uno scultore simbolista.
I pittori simbolisti usavano immagini mitologiche e oniriche. I simboli usati dal simbolismo non sono gli emblemi familiari dell'iconografia tradizionale ma riferimenti intensamente personali, privati, oscuri e ambigui. Più una filosofia che un vero stile artistico, il simbolismo nella pittura ha influenzato l’Art Nouveau contemporanea e Les Nabis.
Symbolism manifested itself in literature, in the figurative arts and consequently in music. Although manifestations of symbolist art took place even before the nineteenth century, conventionally its birth coincides with the publication of the Symbolism Manifesto of the poet Jean Moréas.
Generally was a late nineteenth-century art movement of French, Russian and Belgian origin in poetry and other arts. In literature, the style originates with the 1857 publication of Charles Baudelaire's Les Fleurs du mal. The works of Edgar Allan Poe, which Baudelaire admired greatly and translated into French, were a significant influence and the source of many stock tropes and images. The aesthetic was developed by Stéphane Mallarmé and Paul Verlaine during the 1860s and 1870s; and was articulated by a series of manifestos and attracted a generation of writers. Jean Moréas invented the term to distinguish the Symbolists from the related Decadents of literature and of art. Distinct from, but related to, the style of literature, symbolism in art is related to the gothic component of Romanticism and Impressionism.
Yet there were several rather dissimilar groups of Symbolist painters and visual artists, which included Gustave Moreau, Gustav Klimt, Mikalojus Konstantinas Čiurlionis, Jacek Malczewski, Odilon Redon, Pierre Puvis de Chavannes, Henri Fantin-Latour, Gaston Bussière, Edvard Munch, Félicien Rops, and Jan Toorop. Symbolism in painting was even more widespread geographically than symbolism in poetry, affecting Mikhail Vrubel, Nicholas Roerich, Victor Borisov-Musatov, Martiros Saryan, Mikhail Nesterov, Léon Bakst, Elena Gorokhova in Russia, as well as Frida Kahlo in Mexico, Elihu Vedder, Remedios Varo, Morris Graves and David Chetlahe Paladin in the United States. Auguste Rodin is sometimes considered a symbolist sculptor.
The symbolist painters used mythological and dream imagery. The symbols used by symbolism are not the familiar emblems of mainstream iconography but intensely personal, private, obscure and ambiguous references. More a philosophy than an actual style of art, symbolism in painting influenced the contemporary Art Nouveau style and Les Nabis.
Arnold Böcklin
The Sacred Wood, 1882, Kunstmuseum (Basel)
War, 1896, Staatliche Kunstsammlungen (Dresden)
The Isle of the Dead, 1880, Kunstmuseum (Basel)
Children Carving May Flutes, 1865, Oskar Reinhart Foundation (Winterthur)
Pan Amongst the Reeds, 1856-57, Oskar Reinhart Foundation (Winterthur)
Nymphs Bathing, 1863-66, Oskar Reinhart Foundation (Winterthur)
Triton and Nereid, 1877, Oskar Reinhart Foundation (Winterthur)
Elysian Fields, 1877, Oskar Reinhart Foundation (Winterthur)
War, 1896, Staatliche Kunstsammlungen (Dresden)
The Isle of the Dead, 1880, Kunstmuseum (Basel)
Children Carving May Flutes, 1865, Oskar Reinhart Foundation (Winterthur)
Pan Amongst the Reeds, 1856-57, Oskar Reinhart Foundation (Winterthur)
Nymphs Bathing, 1863-66, Oskar Reinhart Foundation (Winterthur)
Triton and Nereid, 1877, Oskar Reinhart Foundation (Winterthur)
Elysian Fields, 1877, Oskar Reinhart Foundation (Winterthur)
Pierre Puvis de Chavannes
Study of Four Figures for Repose, 1863, Musée d'Orsay (Paris)
Hope, 1872, Musée d'Orsay (Paris)
Young Girls at the Seaside, 1879, Musée d'Orsay (Paris)
Mad Woman at the Edge of the Sea, 1857, The Hermitage (St. Petersburg)
The Dream, 1883, Musée du Louvre (Paris)
Hope, 1872, Musée d'Orsay (Paris)
Young Girls at the Seaside, 1879, Musée d'Orsay (Paris)
Mad Woman at the Edge of the Sea, 1857, The Hermitage (St. Petersburg)
The Dream, 1883, Musée du Louvre (Paris)
Gustave Moreau
Hesiod and the Muse, 1891, Musée d'Orsay (Paris)
Hesiod and the Muse, 1857, private collection
Pietà, 1854, Museum of Fine Arts (Gifu)
Hesiod and the Muses, 1860, Musée Gustave Moreau (Paris)
Oedipus and the Sphinx, 1864, Metropolitan Museum of Art (NY)
Jason, 1863-65, Musée d'Orsay (Paris)
Orpheus, 1865, Musée d'Orsay (Paris)
Diomedes Devoured by his Horses, 1865, Musée des beaux-arts (Rouen)
A Peri, 1865, The Art Institute (Chicago)
Prometheus, 1868, Musée Gustave Moreau (Paris)
Saint Sebastian and the Holy Women, 1868-69, Saint Louis Art Museum (Missouri)
Sappho, 1871-72, Victoria and Albert Museum (London)
Hercules and the Lernaean Hydra, 1869-76, The Art Institute (Chicago)
Salomé Dancing before Herod, 1874-76, The Armad Hammer Collection (Los Angeles)
The Apparition, 1874-76, Musée du Louvre (Paris)
Jacob and the Angel, 1878, Musée Gustave Moreau (Paris)
David, 1878, The Armand Hammer Collection (Los Angeles)
Phaeton, 1878-79, Musée du Louvre (Paris)
Galatea, 1878-80, Musée d'Orsay (Paris)
Evening and Sorrow, 1882-84, Académie des beaux-arts (Paris)
The Unicorns, 1887-88, Musée Gustave Moreau (Paris)
Jupiter and Semele, 1889-95, Musée Gustave Moreau (Paris)
Dead Poet Borne by a Centaur, 1890, Musée Gustave Moreau (Paris)
Saint George and the Dragon, 1870-89, The National Gallery (London)
Orestes and the Erinyes, 1875-1893, private collection
Inspiration, 1893, The Art Institute (Chicago)
Self-Portrait, 1850, Musée Gustave Moreau (Paris)
The Peacock Compaining to Juno, 1881-81, Musée Gustave Moreau (Paris)
The Peri (The Sacred Elephant; The Sacred Lake), 1881-82, National Museum of Western Art (Tokyo)
The Lamentations of the Poet, 1882-83, Musée du Louvre (Paris)
Hesiod and the Muse, 1857, private collection
Pietà, 1854, Museum of Fine Arts (Gifu)
Hesiod and the Muses, 1860, Musée Gustave Moreau (Paris)
Oedipus and the Sphinx, 1864, Metropolitan Museum of Art (NY)
Jason, 1863-65, Musée d'Orsay (Paris)
Orpheus, 1865, Musée d'Orsay (Paris)
Diomedes Devoured by his Horses, 1865, Musée des beaux-arts (Rouen)
A Peri, 1865, The Art Institute (Chicago)
Prometheus, 1868, Musée Gustave Moreau (Paris)
Saint Sebastian and the Holy Women, 1868-69, Saint Louis Art Museum (Missouri)
Sappho, 1871-72, Victoria and Albert Museum (London)
Hercules and the Lernaean Hydra, 1869-76, The Art Institute (Chicago)
Salomé Dancing before Herod, 1874-76, The Armad Hammer Collection (Los Angeles)
The Apparition, 1874-76, Musée du Louvre (Paris)
Jacob and the Angel, 1878, Musée Gustave Moreau (Paris)
David, 1878, The Armand Hammer Collection (Los Angeles)
Phaeton, 1878-79, Musée du Louvre (Paris)
Galatea, 1878-80, Musée d'Orsay (Paris)
Evening and Sorrow, 1882-84, Académie des beaux-arts (Paris)
The Unicorns, 1887-88, Musée Gustave Moreau (Paris)
Jupiter and Semele, 1889-95, Musée Gustave Moreau (Paris)
Dead Poet Borne by a Centaur, 1890, Musée Gustave Moreau (Paris)
Saint George and the Dragon, 1870-89, The National Gallery (London)
Orestes and the Erinyes, 1875-1893, private collection
Inspiration, 1893, The Art Institute (Chicago)
Self-Portrait, 1850, Musée Gustave Moreau (Paris)
The Peacock Compaining to Juno, 1881-81, Musée Gustave Moreau (Paris)
The Peri (The Sacred Elephant; The Sacred Lake), 1881-82, National Museum of Western Art (Tokyo)
The Lamentations of the Poet, 1882-83, Musée du Louvre (Paris)
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