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Symbolisme
A place for all concretizations of the symbolist school. Symbolisme was an artistic movement developed primarily in Paris, France and Brussels, Belgium at the turn of the Nineteenth Century into the Twentieth (Fin-de-siècle.)

Although it is widely ignored in the present, in favor of concurrent schools like the Impressionists and Art Nouveau, Symbolism was highly influential, polemic and iconoclastic. It's central themes were often dark and reflective of the preoccupation with decadence and doom that plagued many individuals during the fin-de-siècle period.

Ce blog est dedié au travail de Philippe Jullian dans ce genre.

I do not own the rights for these images. If you so request, I will remove them.

Voilà, les rêveurs de la décadence...
L’amour aveugle, l’amour sanglant par Georges de Feure (1894)

L’amour aveugle, l’amour sanglant par Georges de Feure (1894)

(via rolandscapes)

Dante e Beatrice (1924). Odilon Redon

Dante e Beatrice (1924). Odilon Redon

(Source: dantereader, via nataliakoptseva)

The Swan Girl by Jean Delville

The Swan Girl by Jean Delville

(Source: showmethe-monet)

Jeune fille par Edgar Maxence

Jeune fille par Edgar Maxence

(Source: colourthysoul, via colourthysoul)

thesteppenwolf:

Tribulations of Saint Anthony — James Ensor
One of Ensor’s earliest fantastical paintings, this work recreates the familiar story of Saint Anthony battling a world of temptations (embodied by the woman at the far left). Ensor described his version of the narrative as one in which “the bizarre prevails” as Hell expels menacing sea creatures and grotesque monsters haphazardly joined together within a colorful, loosely rendered landscape. Inspired by earlier renditions of the story by Flemish artists Hieronymus Bosch (1453–1516) and Pieter Brueghel (1525–1569), Ensor brought a fresh interpretation to a familiar subject by combining invented figures with wild brushstrokes and audacious color choices. On the basis of this painting, Alfred H. Barr, Jr., the founding director of The Museum of Modern Art, described Ensor as possibly “the boldest living painter” in 1887.
(This one’s particularly magnificent in person, a lot is lost in the shrinking process, it really measures 117.8 x 167.6 cm)

thesteppenwolf:

Tribulations of Saint Anthony — James Ensor

One of Ensor’s earliest fantastical paintings, this work recreates the familiar story of Saint Anthony battling a world of temptations (embodied by the woman at the far left). Ensor described his version of the narrative as one in which “the bizarre prevails” as Hell expels menacing sea creatures and grotesque monsters haphazardly joined together within a colorful, loosely rendered landscape. Inspired by earlier renditions of the story by Flemish artists Hieronymus Bosch (1453–1516) and Pieter Brueghel (1525–1569), Ensor brought a fresh interpretation to a familiar subject by combining invented figures with wild brushstrokes and audacious color choices. On the basis of this painting, Alfred H. Barr, Jr., the founding director of The Museum of Modern Art, described Ensor as possibly “the boldest living painter” in 1887.

(This one’s particularly magnificent in person, a lot is lost in the shrinking process, it really measures 117.8 x 167.6 cm)

(Source: whole-e-stick)

Salomé par Gustave Moreau

Salomé par Gustave Moreau

(Source: nataliakoptseva, via nataliakoptseva)

Apparition (1910). Odilon Redon.

Apparition (1910). Odilon Redon.

(Source: fleurdulys, via nataliakoptseva)

Petit Annonce:

Le Symbolisme perdurera. Soyez prêts pour son retour, fiers amants des énigmes, ombrés ténèbres et décadence.

theglasstorch:

Day 15: Eerie — Arachne, from “The Divine Comedy” by Dante Alighieri, illustration by Gustave Doré #octogram #october #octoberphotochallenge #photochallenge #potd #potdchallenge #eerie #dante #dantealighieri #gustavedore #thedivinecomedy #divinecomedy #divinacommedia #epicpoem #poem #purgatorio #purgatory #arachne #arachnid

theglasstorch:

Day 15: Eerie — Arachne, from “The Divine Comedy” by Dante Alighieri, illustration by Gustave Doré #octogram #october #octoberphotochallenge #photochallenge #potd #potdchallenge #eerie #dante #dantealighieri #gustavedore #thedivinecomedy #divinecomedy #divinacommedia #epicpoem #poem #purgatorio #purgatory #arachne #arachnid

postgraduatepunk:

John Singer Sargent, Pagan Gods, 1895.

Astarte [left], Moloch [right].

In my opinion, the mural ensemble The Triumph of Religion, commissioned by the Boston Public Library, was the only really interesting painting John Singer Sargent ever did. His Pagan Gods, which adorns the north end of the vaulted ceiling, is a great example of a painter from another style accidentally making a Symbolist work.

1910-again:

Felicien Rops, The Cold Devils c.1860

1910-again:

Felicien Rops, The Cold Devils c.1860

low-country:

Jean Delville - Pour L’art (1892)
(via feuilleton)

low-country:

Jean Delville - Pour L’art (1892)

(via feuilleton)

colourthysoul:

Edgar Maxence

colourthysoul:

Edgar Maxence

lemerveilleuxquelquepart:

Edgar Maxence ~ Divine Head

lemerveilleuxquelquepart:

Edgar Maxence ~ Divine Head

Odilon Redon (1840-1916)
Les yeux clos
1890
Oil on canvas
H. 44; W. 36 cm
Paris, Musée d’Orsay

Texte du Musée d’Orsay:

"Dans les années 1890, Odilon Redon interprète parfois en couleur certains de ces dessins ou gravures. Peint en 1890, Les Yeux clos, qui est sans doute un portrait de son épouse Camille Falte, reprend ainsi la composition d’un dessin antérieur.

Les yeux fermés du sommeil ou de la mort évoquent le monde intérieur, le rêve, l’absence ou l’apparition, thèmes féconds chez Odilon Redon, comme il le raconte dans A soi-même, son journal intime publié en 1922. L’extrême dilution de la peinture la rend presque immatérielle, laissant le grain de la toile apparent. Le buste semble flotter dans un espace que l’artiste laisse indéfini.

Ce visage fait référence aux bustes de la renaissance italienne du XVe siècle, aux marbres de Francesco Laurana en particulier. Il garde aussi sans doute le souvenir de L’Esclave mourant de Michel-Ange, exposé au Louvre, qui avait bouleversé Redon et dont il avait commenté dans son journal le charme étrange des “yeux clos”. Icône du symbolisme en peinture, c’est la première oeuvre de Redon entrée dans les collections nationales, choisie en 1904 dans l’atelier de l’artiste par Léonce Bénédite, le directeur du musée du Luxembourg.”

In the 1890s, Odilon Redon sometimes reworked some of his drawings or engravings in colour. Painted in 1890, Closed Eyes, which is no doubt a portrait of his wife Camille Falte, was thus a remake of an earlier drawing.

The eyes closed in sleep or death suggest an inner world, dream, absence or apparition, all fertile themes in the work of Odilon Redon, as he explains in A soi-même, his diary published in 1922. The highly diluted paint makes it almost immaterial, letting the grain of the canvas show through. The bust seems to float in an undefined space.

The face refers to busts from the Italian Renaissance in the 15th century, especially to the marble statues by Francesco Laurana. It is also reminiscent of Michelangelo’s Dying Slave exhibited at the Louvre, which had deeply affected Redon; he spoke in his diary of the strange charm of the “closed eyes”. 
An icon of Symbolism in painting, this was the first of Redon’s works to enter the national collections; it was chosen by Léonce Bénédite, the director of the Musée du Luxembourg, in the artist’s studio in 1904.

Odilon Redon (1840-1916) Les yeux clos 1890 Oil on canvas H. 44; W. 36 cm Paris, Musée d’Orsay

Texte du Musée d’Orsay:

"Dans les années 1890, Odilon Redon interprète parfois en couleur certains de ces dessins ou gravures. Peint en 1890, Les Yeux clos, qui est sans doute un portrait de son épouse Camille Falte, reprend ainsi la composition d’un dessin antérieur.

Les yeux fermés du sommeil ou de la mort évoquent le monde intérieur, le rêve, l’absence ou l’apparition, thèmes féconds chez Odilon Redon, comme il le raconte dans A soi-même, son journal intime publié en 1922. L’extrême dilution de la peinture la rend presque immatérielle, laissant le grain de la toile apparent. Le buste semble flotter dans un espace que l’artiste laisse indéfini.

Ce visage fait référence aux bustes de la renaissance italienne du XVe siècle, aux marbres de Francesco Laurana en particulier. Il garde aussi sans doute le souvenir de L’Esclave mourant de Michel-Ange, exposé au Louvre, qui avait bouleversé Redon et dont il avait commenté dans son journal le charme étrange des “yeux clos”. Icône du symbolisme en peinture, c’est la première oeuvre de Redon entrée dans les collections nationales, choisie en 1904 dans l’atelier de l’artiste par Léonce Bénédite, le directeur du musée du Luxembourg.”

In the 1890s, Odilon Redon sometimes reworked some of his drawings or engravings in colour. Painted in 1890, Closed Eyes, which is no doubt a portrait of his wife Camille Falte, was thus a remake of an earlier drawing.

The eyes closed in sleep or death suggest an inner world, dream, absence or apparition, all fertile themes in the work of Odilon Redon, as he explains in A soi-même, his diary published in 1922. The highly diluted paint makes it almost immaterial, letting the grain of the canvas show through. The bust seems to float in an undefined space.

The face refers to busts from the Italian Renaissance in the 15th century, especially to the marble statues by Francesco Laurana. It is also reminiscent of Michelangelo’s Dying Slave exhibited at the Louvre, which had deeply affected Redon; he spoke in his diary of the strange charm of the “closed eyes”. An icon of Symbolism in painting, this was the first of Redon’s works to enter the national collections; it was chosen by Léonce Bénédite, the director of the Musée du Luxembourg, in the artist’s studio in 1904.