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Symbolism Art

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Austin Dutcher

on 17 June 2013

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Transcript of Symbolism Art

Symbolism Art by Austin Dutcher
Overview (about movement)
Quotations from Artists
James Ensor
Gustave Moreau
Mikhail Vrubel
Born: March 5, 1856
Omsk, Siberia
Died: April 1, 1910 (age 54)
Saint Petersburg
Gustav Klimt
- oil and gold leaf on canvas, - 1907–1908. - Österreichische Galerie Belvedere, Vienna,
- 180 cm × 180 cm
Hugo Simberg
Date: 1903
Medium: Oil on canvas
Dimensions:127 cm × 154 cm (50 in × 61 in)
Self Portrait
Masks Confronting Death
Symbolism was a late nineteenth-century art movement of French, Russian and Belgian origin in poetry and other arts. Symbolists believed that art should represent absolute truths that could only be described indirectly. Thus, they wrote in a very metaphorical and suggestive manner, endowing particular images or objects with symbolic meaning.
Born: 13 April 1860, Ostend, Belgium
Died: 19 November 1949 (aged 89)
Ostend, Belgium
The Rower
- 1883, oil on canvas, 79 x 99 cm, Koninklijk Museum voor Schone Kunsten, Antwerp
- A portrait of a fisherman
- The most defined point of the paiting itself is the gravity of the coloring and how sharp it speaks for the event of the image. The closer you are to the subject, the darker the color is and this somewhat expresses the magnificent focus of our eye. You can't touch the full event, but you can almost touch the painting and feel its texture.
In Self-Portrait with Masks (1899), the artist paints himself in the middle of a carnival throng. Only the heads are visible in the perspective, the bodies blocked by an agglomeration of weird and scary faces. Near the center of the canvas is the artist himself, looking a little apprehensive, but very human in comparison to the ghouls, demons, monsters and skulls hemming him in on all sides. The painting begs questions about an artist who never managed to fit in.
A group of masked figures confronts the figure of Death, centrally situated and draped in whitea color that infiltrates the entire picture. Composed of masks adorned with drapery, hats, and even blue glasses, the arrangement of figures recalls Ensor's earlier still-life compositions. The ubiquitous masks in Ensor's work were likely based on those sold in his family's curiosity shop a few floors below his studio. He explained, "The mask means to me: freshness of color, sumptuous decoration, wild unexpected gestures, very shrill expressions, exquisite turbulence." In this painting, the fantastical masked inventions appear to come alive and challenge Death—perhaps a reflection of the artist's preoccupation with mortality and his hope that he might prevail against its inevitable dominion.
Medium:Oil on canvas
Dimensions:32 x 39 1/2" (81.3 x 100.3 cm)
Date: 1899
Medium: oil on canvas
Dimensions: 120 x 80 cm
Born: 6 April 1826, Paris
Died: 18 April 1898, Paris
St. Cecilia (The Angels Announcing her Coming Martyrdom)

Date: 1897
Medium: oil on canvas
Dimensions: 60 x 73.3 cm
An angel coming down to tell St. Cecilia about the coming of a patron martyr and saint of music
Europa and the Bull
Date: c.1869
Technique: watercolor

In Greek mythology, Europa was a Phoenician woman of high lineage, from whom the name of the continent Europe has ultimately been taken. The story was a Cretan story, as Kerenyi points out; "most of the love-stories concerning Zeus originated from more ancient tales describing his marriages with goddesses. This can especially be said of the story of Europa." The name Europa occurs in the list of daughters of primordial Oceanus and Tethys; the daughter of the earth-giant Tityas and mother of Euphemus by Poseidon, was also named Europa. Completion Date: c.1869
Style: Symbolism
Genre: mythological painting
Technique: watercolor
The Apparition
Date: 1876
Technique: watercolor
Dimensions: 72 x 105 cm
- The murder was accomplished. The executioner stood impassive, his hands on the hilt of his long, blood-stained sword.

- The severed head of the saint stared lividly on the charger resting on the slabs; the mouth was discolored and open, the neck crimson, and tears fell from the eyes. The face was encircled by an aureole worked in mosaic, which shot rays of light under the porticos and illuminated the horrible ascension of the head, brightening the glassy orbs of the contracted eyes which were fixed with a ghastly stare upon the dancer.

- With a gesture of terror, Salome thrusts from her the horrible vision which transfixes her, motionless, to the ground. Her eyes dilate, her hands clasp her neck in a convulsive clutch.
Date: 1896

Central panel - Margaretta, 435 x 104 cm
Left panel - Mephistopheles and a Student, 521 x 110 cm
Right panel - Faust, 521 x 104 cm
Gallery: Tretyakov Gallery, Moscow, Russia
Flight of Faust and Mephisto
Date: 1886
Style: Symbolism, Art
Genre: literary painting
Technique: oil
Material: canvas
Gallery: Tretyakov Gallery, Moscow, Russia
Both this and Faust were both paintings based off of the well known play in two parts, Goethe's Faust
Hamlet and Ophelia
Date: 1883
Style: Symbolism
Technique: watercolor
Material: paper
Gallery: Russian Museum, St. Petersburg, Russia

- Another painting based of a well known play, Hamlet by Shakespeare
Born 24 June 1873 Died 12 July 1917
Like other Simbergs riteings, evokes a melancholy atmosphere: the angelic central figure with her bandaged eyes and bloodied wing, the sombre clothing of her two youthful bearers. The direct gaze of the right-hand figure touches the viewer.

The Garden of Death
Date: 1896
Type: Watercolor and gouache
Dimensions: 16 cm × 17 cm (6.3 in × 6.7 in)

- Like many of Simberg's paintings, it depicts a gloomy, otherworldly scene. The central figures are reminiscent of the classic black-clad Grim Reaper, but paradoxically are tending to gardens; traditionally symbols of birth or renewal.
- Simberg's juxtaposition of the traditionally frightening imagery of death with the tenderness and humor of his portrayal invite the viewer to consider mortality in a new light
Death Listens
Date: 1897
The painting depicts Death, personified as a skeleton wearing a black coat, listening with a bowed head as a young man plays the violin. In the background, there is an old woman lying on a bed, pale and apparently sickly. There is a suggestion that Death is there for the old woman, but that he is pausing so the young man, possibly the dying woman's son, can have time to finish his violin playing.
Born July 14, 1862 Died February 6, 1918
It is a symbol of Vienna Jugendstil—Viennese Art Nouveau—and is considered Klimt's most popular work.
Portrait of Adele Bloch-Bauer I
- Date: 1907
- Type: Oil, silver, and gold on canvas
- Dimensions: 138 cm × 138 cm (54 in × 54 in)
- The picture was painted in Vienna and commissioned by Ferdinand Bloch-Bauer. As a wealthy industrialist who had made his fortune in the sugar industry, he sponsored the arts and favored and supported Gustav Klimt. Adele Bloch-Bauer became the only model who was painted twice by Klimt when he completed a second picture of her, Adele Bloch-Bauer II, in 1912.
The Tree of Life
Ornament to Klimt is a metaphor of matter itself in a state of perpetual mutation, ceaselessly evolving, turning, spiraling, undulating, twisting, a violent whirlwind that assumes all shapes, zigzags of lightning and flickering tongues of serpents, tangles of vines, links of chains, flowing veils, fragile threads.
Date: 1909
Work Cited
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