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Symbolist Movement: Works
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Fine arts professor Jeffery Howe has pinned his career to one artist, Fernand Khnopff (1858–1921), a key figure in the 19th-century European symbolist movement. Chief curator of Fernand Khnopff: Inner Visions and Landscapes, a major retrospective at the McMullen Museum of Art on view through December 5, 2004, Howe talks with Boston College Magazine editor Ben Birnbaum about the artist’s place in the history of European painting, about notes found on the backs of some of the paintings when the show was installed, and about Khnopff’s remarkable ability to seamlessly join reality and fantasy. Howe ... discusses three of his favorite Khnopff paintings, including The Caresses (left), the work that first attracted him to Khnopff “and was also the hardest to understand. It is Khnopff’s signature image, and one of the most famous symbolist works of the 19th century.”
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[S]imilar to the 19th century Symbolist movement, Surrealism was based on the psychoanalytic theories of Sigmund Freud and Carl Jung, emphasizing imagination and subconscious imagery. Work usually contained realist imagery arranged in a nonsensical style in order to create a dreamlike state. Surrealist painting incorporated a lot of content and technique. Surrealism incorporated and celebrated the art of children and primitive art. They appreciated the innocent eye in that the untrained artist was more liberated to depict their actual imaginative ideas
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The Symbolist painters were an important influence on expressionism and surrealism in painting, two movements which descend directly from Symbolism proper. The harlequins, paupers, and clowns of Pablo Picasso's "Blue Period" show the influence of Symbolism, and especially of Puvis de Chavannes. In Belgium, where Symbolism had penetrated deeply, so much so that it came to be thought of as a national style, the static strangeness of painters like René Magritte can be seen as a direct continuation of Symbolism. The work of some Symbolist visual artists, such as Jan Toorop, directly impacted the curvilinear forms of art nouveau.
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Symbolism and Modern Urban Society is the first social history of the Symbolist movement. Sharon Hirsh adopts a variety of methods, including gender theory, biography, visual analysis, and medical and literary history, in order to investigate this esoteric movement and ground it firmly in fin de siècle issues of modernity and the metropolis. Hirsh argues that Symbolism, often associated with notions of individualism, nostalgia, and visual reverie, offers an engaging critique of urbanity. Providing new definitions and theories for Symbolism and Decadence, she ... addresses issues such as spatial and street confrontations with the crowd, the diseased city, the New Woman as “should-be mother,” as well as the ideal city of Bruges and its social upheaval in the 1890s. Focusing on works by well-known artists such as Van Gogh, Munch, and Ensor, Hirsh also considers the works of artists who contributed in important ways to the Symbolist movement and the cities – Amsterdam, Brussels, Geneva, Oslo – in which they worked.
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The Symbolist painters were an important influence on expressionism and surrealism in painting, two movements which descend directly from Symbolism proper. The work of some Symbolist visual artists directly impacted the curvilinear forms of art nouveau. Many early motion pictures... contain a good deal of Symbolist visual imagery and themes in their staging and set designs.
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