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La pintura simbolista fue una de las princ … La pintura simbolista fue una de las principales manifestaciones artísticas del simbolismo, un movimiento cultural surgido a finales del siglo XIX en Francia y que se desarrolló por diversos países europeos. El inicio de esta corriente se dio en poesía, especialmente gracias al impacto de Las flores del mal de Charles Baudelaire (1868), que influyó poderosamente en una generación de jóvenes poetas entre los que destacan Paul Verlaine, Stéphane Mallarmé y Arthur Rimbaud. El término «simbolismo» fue acuñado por Jean Moréas en un manifiesto literario publicado en Le Figaro en 1886. Las premisas estéticas del simbolismo pasaron de la poesía a otras artes, especialmente la pintura, la escultura, la música y el teatro. La cronología de este estilo es difícil de establecer: el punto álgido se encuentra entre 1885 y 1905, pero ya desde los años 1860 había obras que apuntaban al simbolismo, mientras que su culminación puede establecerse en el inicio de la Primera Guerra Mundial. En pintura, el simbolismo fue un estilo de corte fantástico y onírico que surgió como reacción al naturalismo de la corriente realista e impresionista, frente a cuya objetividad y descripción detallada de la realidad opusieron la subjetividad y la plasmación de lo oculto y lo irracional; frente a la representación, la evocación o la sugerencia. Así como en poesía el ritmo de las palabras servía para expresar un significado trascendente, en pintura se buscó la forma de que el color y la línea expresasen ideas. En este movimiento, todas las artes estaban relacionadas y así a menudo se comparaba la pintura de Redon con la poesía de Baudelaire o la música de Debussy. Este estilo puso un especial énfasis en el mundo de los sueños y el misticismo, así como en diversos aspectos de la contracultura y la marginalidad, como el esoterismo, el satanismo, el terror, la muerte, el pecado, el sexo y la perversión —es sintomático en este sentido la fascinación de estos artistas por la figura de la femme fatale—. Todo ello se manifestó en consonancia con el decadentismo, una corriente cultural finisecular que incidía en los aspectos más existenciales de la vida y en el pesimismo como actitud vital, así como la evasión y la exaltación del inconsciente. Otra corriente ligada al simbolismo fue el esteticismo, una reacción al utilitarismo imperante en la época y a la fealdad y materialismo de la era industrial. Frente a ello, se otorgó al arte y a la belleza una autonomía propia, sintetizada en la fórmula de Théophile Gautier «el arte por el arte» (L'art pour l'art). Algunos artistas simbolistas también estuvieron vinculados a la teosofía y a organizaciones esotéricas como los Rosacruz. Cabe señalar que estilísticamente hubo una gran diversidad dentro de la pintura simbolista, como se denota comparando el exotismo suntuoso de Gustave Moreau con la serenidad melancólica de Pierre Puvis de Chavannes. El simbolismo pictórico estuvo relacionado con otros movimientos anteriores y posteriores: se suele considerar al prerrafaelismo como un antecedente de este movimiento, al tiempo que ya comenzado el siglo XX entroncó con el expresionismo, especialmente gracias a figuras como Edvard Munch y James Ensor. Por otro lado, se consideran simbolistas o directamente relacionadas con el simbolismo algunas escuelas o asociaciones artísticas como la Escuela de Pont-Aven o el grupo de los Nabis. También fueron herederos en cierta medida del neoimpresionismo, cuya técnica puntillista fue la primera en romper con el naturalismo impresionista. Por otro lado, el postimpresionista Paul Gauguin ejerció un poderoso influjo en los inicios del simbolismo, gracias a su vinculación con la Escuela de Pont-Aven y el cloisonismo. Esta corriente estuvo vinculada también al modernismo, conocido como art nouveau en Francia, Modern Style en Reino Unido, Jugendstil en Alemania, Sezession en Austria o Liberty en Italia.Sezession en Austria o Liberty en Italia.
, A pintura simbolista foi uma das principai … A pintura simbolista foi uma das principais manifestações artísticas do simbolismo, movimento cultural surgido no final do século XIX na França e que foi desenvolvido por vários países europeus. O início dessa tendência ocorreu na poesia, especialmente graças ao impacto de Las flores del mal (1868), de Charles Baudelaire, que influenciou fortemente uma geração de jovens poetas, incluindo Paul Verlaine, Stéphane Mallarmé e Arthur Rimbaud. O termo "simbolismo" foi cunhado por Jean Moréas em um manifesto literário publicado no Le Figaro em 1886. As premissas estéticas do simbolismo passaram da poesia para outras artes, especialmente pintura, escultura, música e teatro. A cronologia desse estilo é difícil de estabelecer: o ponto alto é entre 1885 e 1905, mas desde a década de 1860 já existiam obras que apontavam para o simbolismo, enquanto seu ponto culminante pode ser estabelecido no início da Primeira Guerra Mundial. Na pintura, o simbolismo era um estilo de cunho fantástico e onírico que surgiu como uma reação ao naturalismo da corrente realista e impressionista, frente a cuja objetividade e descrição detalhada da realidade se opuseram a subjetividade e a encarnação do oculto e do irracional; frente à representação, a evocação ou a sugestão. Assim como na poesia o ritmo das palavras servia para expressar um significado transcendente, na pintura buscava-se o caminho da cor e da linha para expressar as ideias. Nesse movimento, todas as artes estavam relacionadas e, assim, a pintura de Redon era frequentemente comparada à poesia de Baudelaire ou à música de Debussy. Este estilo colocava uma ênfase especial no mundo dos sonhos e misticismo, bem como em vários aspectos da contracultura e marginalidade, como o esoterismo, o satanismo, o terror, a morte, o pecado, o sexo e a perversão—sintomático neste sentido é o fascínio destes artistas para a figura da femme fatale. Tudo isso se manifestou em consonância com o decadentismo, tendência cultural finissecular que incidia sobre os aspectos mais existenciais da vida e no pessimismo como atitude vital, bem como a evasão e exaltação do inconsciente. Outra tendência ligada ao simbolismo foi o esteticismo, uma reação ao utilitarismo vigente na época e à feiura e materialismo da era industrial. Contra isso, arte e beleza ganharam autonomia própria, sintetizada na fórmula de Théophile Gautier "arte pela arte" (L'art pour l'art). Alguns artistas simbolistas também estavam ligados à teosofia e organizações esotéricas como a Rosacruz. Deve-se notar que estilisticamente havia grande diversidade dentro da pintura simbolista, conforme se denota pela comparação do exotismo suntuoso de Gustave Moreau com a serenidade melancólica de Pierre Puvis de Chavannes. O simbolismo pictórico foi relacionado a outros movimentos anteriores e posteriores: o pré-rafaelismo costuma ser considerado um antecedente desse movimento, enquanto que, já começado o século XX, formou tronco junto ao expressionismo, especialmente graças a figuras como Edvard Munch e James Ensor. Por outro lado, algumas escolas ou associações artísticas como a ou o grupo dos Nabis são consideradas simbolistas ou diretamente relacionadas com o simbolismo. Eles também foram herdeiros até certo ponto do neoimpressionismo, cuja técnica pontilhista foi a primeira a romper com o naturalismo impressionista. Por outro lado, o pós-impressionista Paul Gauguin exerceu uma influência poderosa nos primórdios do simbolismo, graças à sua ligação com a Escola Pont-Aven e ao cloisonismo. Esta vertente também foi ligada ao modernismo, conhecido como art nouveau na França, Modern Style no Reino Unido, Jugendstil na Alemanha, na Áustria ou Liberty na Itália.Alemanha, na Áustria ou Liberty na Itália.
, Symbolist painting was one of the main art … Symbolist painting was one of the main artistic manifestations of symbolism, a cultural movement that emerged at the end of the 19th century in France and developed in several European countries. The beginning of this current was in poetry, especially thanks to the impact of The Flowers of Evil by Charles Baudelaire (1868), which powerfully influenced a generation of young poets including Paul Verlaine, Stéphane Mallarmé and Arthur Rimbaud. The term "symbolism" was coined by Jean Moréas in a literary manifesto published in Le Figaro in 1886. The aesthetic premises of Symbolism moved from poetry to other arts, especially painting, sculpture, music and theater. The chronology of this style is difficult to establish: the peak is between 1885 and 1905, but already in the 1860s there were works pointing to symbolism, while its culmination can be established at the beginning of the First World War. In painting, symbolism was a fantastic and dreamlike style that emerged as a reaction to the naturalism of the realist painting and impressionist trends, whose objectivity and detailed description of reality were opposed by subjectivity and the depiction of the occult and the irrational, as opposed to representation, evocation, or suggestion. Just as in poetry the rhythm of words served to express a transcendent meaning, in painting they sought ways for color and line to express ideas. In this movement, all the arts were related and thus the painting of Redon was often compared to the poetry of Baudelaire or the music of Debussy. This style placed a special emphasis on the world of dreams and mysticism, as well as on various aspects of counterculture and marginality, such as esotericism, Satanism, terror, death, sin, sex and perversion—symptomatic in this sense is the fascination of these artists with the figure of the femme fatale. All this was manifested in line with decadentism, a fin-de-siecle cultural current that stressed the most existential aspects of life and pessimism as a vital attitude, as well as the evasion and exaltation of the unconscious. Another current linked to symbolism was aestheticism, a reaction to the prevailing utilitarianism of the time and to the ugliness and materialism of the industrial era. Against this, art and beauty were granted their own autonomy, synthesized in Théophile Gautier's formula "art for art's sake" (L'art pour l'art). Some Symbolist artists were also linked to theosophy and esoteric organizations such as the Rosicrucians. Stylistically there was great diversity within Symbolist painting, as is denoted by comparing the sumptuous exoticism of Gustave Moreau with the melancholic serenity of Pierre Puvis de Chavannes. Pictorial symbolism was related to other earlier and later movements: Preraphaelism is usually considered an antecedent of this movement, while at the beginning of the 20th century it was linked to Expressionism, especially thanks to figures such as Edvard Munch and James Ensor. On the other hand, some schools or artistic associations such as the Pont-Aven School or the group of the Nabis are considered symbolist or directly related to symbolism. They were also heirs to some extent of Neo-Impressionism, whose puntillist technique was the first to break with impressionist naturalism. On the other hand, Post-Impressionist Paul Gauguin exerted a powerful influence on the beginnings of Symbolism, thanks to his links with the Pont-Aven School and Cloisonnism. This current was also linked to modernism, known as art nouveau in France, Modern Style in United Kingdom, Jugendstil in Germany, Sezession in Austria or Liberty in Italy. Sezession in Austria or Liberty in Italy.
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Madonna , by Edvard Munch, National Gallery of Norway, Oslo
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The writer Thomas Mann, in his novel Gladius Dei , interweaved these two images to forge the prototype of the sinful woman.
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Franz von Stuck 004.jpg
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http://en.wikipedia.org/wiki/Symbolist_painting +
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| rdfs:comment |
La pintura simbolista fue una de las princ … La pintura simbolista fue una de las principales manifestaciones artísticas del simbolismo, un movimiento cultural surgido a finales del siglo XIX en Francia y que se desarrolló por diversos países europeos. El inicio de esta corriente se dio en poesía, especialmente gracias al impacto de Las flores del mal de Charles Baudelaire (1868), que influyó poderosamente en una generación de jóvenes poetas entre los que destacan Paul Verlaine, Stéphane Mallarmé y Arthur Rimbaud. El término «simbolismo» fue acuñado por Jean Moréas en un manifiesto literario publicado en Le Figaro en 1886. Las premisas estéticas del simbolismo pasaron de la poesía a otras artes, especialmente la pintura, la escultura, la música y el teatro. La cronología de este estilo es difícil de establecer: el punto álgido se encícil de establecer: el punto álgido se enc
, Symbolist painting was one of the main art … Symbolist painting was one of the main artistic manifestations of symbolism, a cultural movement that emerged at the end of the 19th century in France and developed in several European countries. The beginning of this current was in poetry, especially thanks to the impact of The Flowers of Evil by Charles Baudelaire (1868), which powerfully influenced a generation of young poets including Paul Verlaine, Stéphane Mallarmé and Arthur Rimbaud. The term "symbolism" was coined by Jean Moréas in a literary manifesto published in Le Figaro in 1886. The aesthetic premises of Symbolism moved from poetry to other arts, especially painting, sculpture, music and theater. The chronology of this style is difficult to establish: the peak is between 1885 and 1905, but already in the 1860s there were works but already in the 1860s there were works
, A pintura simbolista foi uma das principai … A pintura simbolista foi uma das principais manifestações artísticas do simbolismo, movimento cultural surgido no final do século XIX na França e que foi desenvolvido por vários países europeus. O início dessa tendência ocorreu na poesia, especialmente graças ao impacto de Las flores del mal (1868), de Charles Baudelaire, que influenciou fortemente uma geração de jovens poetas, incluindo Paul Verlaine, Stéphane Mallarmé e Arthur Rimbaud. O termo "simbolismo" foi cunhado por Jean Moréas em um manifesto literário publicado no Le Figaro em 1886. As premissas estéticas do simbolismo passaram da poesia para outras artes, especialmente pintura, escultura, música e teatro. A cronologia desse estilo é difícil de estabelecer: o ponto alto é entre 1885 e 1905, mas desde a década de 1860 já existiam 5, mas desde a década de 1860 já existiam
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| rdfs:label |
Pintura simbolista
, Symbolist painting
, Pintura do simbolismo
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