Symbolism, Its Origins and Its Consequences by Rosina Neginsky

By Rosina Neginsky

The concept of the emblem is on the root of the Symbolist move, yet this image isn't like how it used to be used and understood within the heart a while and Renaissance. within the Symbolist circulate, an emblem isn't really an allegory. The Belgian author Maurice Maeterlinck outlined its essence in a piece of writing that seemed on April 24, 1887, in L’Art moderne. He wrote that the suggestion of a logo within the Symbolist move is the other of the concept of the logo in classical utilization: rather than going from the summary to the concrete (Venus, incarnated within the statue, represents love), it is going from the concrete to the summary, from “what is noticeable, heard, felt, tasted, and sensed to the evocation of the idea.”

This quantity makes an attempt to offer a glimpse into the ability of the Symbolist stream and the character of its primary and interdisciplinary position within the evolution of artwork and literature of the 20 th century. It files the reviews of a gaggle of students, who met and mentioned those themes jointly for the 1st time in 2009. whereas illuminating the specificity of Symbolism in paintings, structure and literature in numerous eu nations, those articles additionally reveal the an important function of French Symbolism within the improvement of the overseas Symbolist stream.

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Marie-Cécile Forest), Paris, 2009. 13653 et Des. 2697. 6 Inv. 13978. Cf. Exhibition catalogue Gustave Moreau et l’antique (Millau: musée de Millau et des Grands Causses, 2001), no. 66. 7 Paris, musée d’Orsay . 8 Gustave Moreau. Ecrits sur l’art, ed. Peter Cooke (Fontfroide: Fata Morgana, 2002), 1:108. 9 Inv. 16076. 10 Paris, musée d’Orsay. 11 Inv. 16075 et Des. 2881. 12 Inv 13654 et Des. 1083 13 Cat. 216 et Cat. 1155-7. 14 Inv. 16245. See for example Geneviève Lacambre, “De l’usage de la sculpture par les peintres: Gustave Moreau regarde Canova,” La sculpture au XIXe siècle: Mélanges pour Anne Pingeot (Paris: Nicolas Chaudun, 2008), 166-169.

Art was often perceived as a theurgical activity because it was a vehicle of bringing the divine on earth through the soul. The Symbolist movement had a powerful impact, often not sufficiently recognized, on the art and literature of the twentieth century. The purpose of the conference Symbolism, Its Origins and Its Consequences, which took place in April 2009 in Illinois, USA, and the purpose of this volume is to explore the complexity of the movement, its origins and its influence on the art and literature of the twentieth century.

1 It now contains a great number of his works, as well as his archives, which he carefully sorted out, keeping only what was related to his artistic life—his library, his souvenirs and his collections, on which he constantly drew for models. We now know that the antique vases, the sculptures and old books belonged for the most part to the collection of his father, the architect Louis Moreau, who was born in 1790 and died in 1862. Louis Moreau was a student of Charles Percier and an admirer of the painter Jean-Antoine Gros, but of Greco-Roman antiquity in particular.

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