In the history of European painting, an important feature of the second half of the19th century is that poetry moves closer to painting and painting leaps to poetry. Symbolism is the representative of this feature. In an article from 65438 to 0886, French symbolist poet Kahn profoundly expounded its characteristics: "The fundamental purpose of our art is to objectify the subjective things (externalization of ideas), not to subjectivize the objective things (nature seen through individual eyes)." Usually people have an illusion that impressionist painting is the mainstream of art in the second half of the19th century, and impressionist painters are regarded as pioneers of modernism. Although impressionist painting and symbolic painting almost appeared at the same time, the former is the last stage of the painting tradition of "imitating nature", while the main characteristics of the latter show that it belongs to the development after impressionism.
Its appearance marks the starting point of the transition of European art from traditionalism to modernism.
The influence of symbolism on painting has surpassed impressionism, whether it is the length of duration or the breadth of geographical spread. The revolutionary significance of symbolism lies in that it produces a new artistic philosophy closer to modern times. Auriere, a critic, summed up the artistic philosophy of symbolism in an article on Gauguin.
He pointed out that a work of art "is ideological first, because its only ideal is to express ideas;" Second, it is symbolic, because it expresses this idea in various forms; Third, it is comprehensive, because it expresses these forms and symbols in a universally understood way; Fourth, it is subjective, because the object is no longer regarded as an object, but a symbol of the thought understood by the subject; Fifth, it is therefore decorative, because strictly speaking, as the Egyptians, perhaps more like the Greeks and the early Renaissance understood, decorative painting is only a subjective, comprehensive, symbolic and ideological artistic expression. "Thus, comprehensiveness and symbolism are mutually penetrating. /kloc-at the end of 0/9 century, the aestheticism movement in English literature also had an important influence on symbolic painting. The theory of this movement is that art exists only for its own beauty, that is, it advocates "art for art's sake". The philosophical basis of aestheticism is that Kant's aesthetics does not involve utilitarian theory. In the late 1980s, British aestheticism reached its peak, which was marked by the appearance of Wilde's decadent novels dorian gray (189 1) and Salome (1893).
And the illustrations published by Aubrey beardsley for Salome (1872- 1898). Besides beardsley, the most outstanding artists in the aestheticism movement are Gee Watts (18 17- 1904) and Boone Jones (1833-98). The French painter Toulouse-Lautrec (1864- 190 1) was also obviously influenced by British aestheticism. France and Britain have made the most outstanding achievements in symbolic art, but some famous groups and outstanding painters have also appeared in other European countries, who have made important contributions to symbolic painting. For example, the 20 regiments in Belgium, the Rose Cross in Paris, the separatists in Germany and Austria, etc. Outstanding painters include Belgian fernand khnopff (1858- 192 1), James Schell (1860- 1949) and Norwegian Edward Meng Qi (EDE). 1863- 1944), Jan toorop of the Netherlands (1858-1928), Arnold bocmin of German-speaking countries (1827-6528). Most of their works reveal a kind of melancholy, decadence, depression, loneliness and hesitation, which is the so-called feelings at the end of the century. In a word, the philosophical basis of symbolism is mysticism, believing in that ideal other world. For symbolism, it is important to reflect the individual's subjective feelings, make the individual divorced from reality and lead him to the illusory world of "ideas". Therefore, what can be felt in symbolic works is only the abstraction and instability of the image, which is a strong subjective color and obscure meaning.
Therefore, what can be felt in symbolic works is only the abstraction and instability of the image, which is a strong subjective color and obscure meaning.