Some artistic movements evolve naturally out of decades of cultural change, others emerge with new technology or invention. But near the end of the 19th century, movements sprouted from the feverish pens of writers.
In 1886 Jean Moréas, a poet and art critic, published The Symbolist Manifesto in Le Figaro, one of France’s most respected newspapers. At the time, Romanticism had been the dominant voice in art and literature through Europe for more than 75 years, and Moréas's screed called Romantic expression ‘dried out and shriveled’ and worse — ‘full of common sense.’ In its place Moréas called for a new manifestation of art — an expression of subjective ideas instead of purely realistic depictions of the world.
It was a tremendously appealing idea the painters of the time — a call to focus on their own subjective visions and a return to a mysterious world of myths and legends. Artists flocked to the new method, developing a formal, simplified style reminiscent of early Grecian sculpture. Paul Gauguin became a poster boy for imbuing simple images with mythic weight, and Puvis de Chavannes turned every day scenes into column rituals. Odilon Redon would push the bounds of Symbolism even further, bringing to life the monsters and creatures of his dark and whimsical imagination.
Gustave Moreau is considered to be the pinnacle of Symbolism by many, because his opulently textured works brought re-envisioned classical themes like Venus and the Muses within a vivid fantastical dramascape.
History hasn’t popularized Symbolism to the same level as art’s more unified movements, like Impressionism or Cubism — for a number of reasons. Symbolist artists worked in many styles, united in pursuit of personal expression rather than aesthetic or technique. And as Symbolism evolved, it evolved into many other movements, influencing Gustav Klimt'sArt Nouveau, and Edvard Munch’s expressionist portraits of modern anxiety.
Symbolism was a dark, emotional slice of art history, but it was pivotal in the germination of Modernism, and the establishment of the kinds of visionary artists we see today.
Art is life, science is death1757-1827
Can you run a socialist company in a capitalist economy?1834-1896
A hermit explores the dreamscape1826-1898
The Forgotten Master1824-1898
The man who fell in love with a demon1856-1910
The faces we see in our dreams1840-1916
Lover of beauty, pursued by the specter of death1853-1918
The darkness beckons1863-1928
Telling the mystic tales of Finland1865-1931
Gothic drama from the end of an era1860-1933
Art as prophesy1870-1943
Follow your bliss1874-1947
Widowed mother of four leaves Russia for Paris1884-1967
Fiercely independent lesbian paints Paris in shades of gray1874-1970
A life's worth of paintings dedicated to Florence1890-1982
Bright colors and a sharp suit1908-2000
I travelled through a land of men, A land of men and women too, And heard and saw such dreadful things, As cold earth wanderers never knew.
The essential character of symbolic art consists in never approaching the concentrated kernel of the Idea in itself.