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Relevant bibliographies by topics / Symbolist painting

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Academic literature on the topic 'Symbolist painting'

Author: Grafiati

Published: 3 June 2022

Last updated: 31 July 2025

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Journal articles on the topic "Symbolist painting"

1

Borozan, Igor. "Simbolistički opus Mihe Marinkovića i njegova recepcija u srpskoj sredini." Ars Adriatica 9 (February 28, 2020): 133–50. http://dx.doi.org/10.15291/ars.2928.

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The paper analyses the symbolist works in the under-researched opus of painter Miho Marinković. Trained at the Munich Academy of Fine Arts, he is primarily known as a painter of intricate themes that can be categorized as late 19th-century symbolism. In 1904, he settled in Belgrade and became an active participant in the cultural scene of the Serbian capital. In 1911, Marinković’s paintings were exhibited in the Pavilion of the Kingdom of Serbia at the International Exhibition in Rome. His symbolist oeuvre covers the standard themes of symbolist painting, such as Medusa, Lucifer, or The Sinner

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Viderker, Vyacheslav Vladimirovich. "The mirror in V. E. Borisov-Musatov’s painting "The Pool"." Культура и искусство, no. 7 (July 2024): 45–55. http://dx.doi.org/10.7256/2454-0625.2024.7.71314.

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The article looks into the mirror motif in V. E. Borisov-Musatov's painting "The Pool", which is one of the masterpieces of Russian painting symbolism. The object of the research is V. E. Borisov-Musatov's painting "The Pool", the subject of the research is the role and functions of the mirror motif in this painting. The manifestations of the three modes of the mirror phenomenon in "The Pool" – the mirror-object, the idea of specular reflection and the image of the mirror are analyzed in detail. The principle of specular reflection is traced in the construction of the composition, in the organ

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Al-Chalabi, Omar Fawwaz. "Aesthetic Positions of Symbolism in the Works of Iraqi Artists 1970–1990." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 28, no. 3 (2022): 166–77. http://dx.doi.org/10.15826/izv1.2022.28.3.056.

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The article is devoted to the study of the aesthetics of symbolism in the works of contemporary Iraqi artists of the 1970s–1990s. The purpose of the study is to analyze the content of symbols in the works of Iraqi symbolist artists in the context of historical and cultural events of the country. The author uses descriptive, analytical, comparative historical methods of scientific research. A brief history of Iraqi symbolism is given. The analysis of the works of Iraqi symbolist artists such as M. Ahmad, V. Sheit, R. Dabdub, D. Azzawi, Sh. H. Al Said is carried out, which allows to clarify the

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Ezerova, Daria V. "Shifting Peripheries: The Case of Russian Symbolism and the Pre-Raphaelite Brotherhood." Slavic Review 78, no. 2 (2019): 481–505. http://dx.doi.org/10.1017/slr.2019.98.

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The influence of the Pre-Raphaelite Brotherhood on Russian symbolism has not been adequately explored in the significant body of scholarship dedicated to it. To give but a few examples, Pre-Raphaelite motifs such as the enigmatic female figure, a jewel-toned palette, and elements drawn from a mythical European past widely appear in Russian symbolist poetry and painting. Drawing upon archival research, this article demonstrates that the symbolists did not simply borrow these motifs in passive imitation, but that they arose out of the symbolists' substantive engagement with modernity itself. Tra

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Stoia, Adrian. "Images of Chalices in Transylvanian Panel Paintings." Review of Ecumenical Studies Sibiu 6, no. 1 (2014): 121–35. http://dx.doi.org/10.2478/ress-2014-0107.

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Abstract The study of the items illustrated on mural and panel painting, in connection with still existing items, can document medieval material culture. The representation of chalices on almost half of such paintings from Transylvania is a proof of its important symbolist value in religious rituals. These representations also certify the high level of the goldsmiths’ art from Transylvania. The present study is intended both as a repertory and an analysis of these sacral objects illustrated in mural and panel paintings.

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Konopka, Emiliana. "Cloudscapes over the Baltic Sea–Cloud Motifs in Finnish, Swedish, German, Russian, Polish, Lithuanian, and Latvian Symbolic Landscape Painting around 1900." Arts 12, no. 5 (2023): 193. http://dx.doi.org/10.3390/arts12050193.

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The cloud motif, a significant one in the landscape painting of the 1890s and early 1900s, has been usually marginalized by scholars despite the fact that during this (Symbolist) period clouds became independent subjects of landscape painting in many European countries, especially in the Baltic Sea Region. Cloud imagery makes a robust appearance in Scandinavian, Russian, Polish, Lithuanian, and Latvian art during the decades around 1900. The variety of symbolic meanings and possible interpretations of cloudscapes was impacted by cultural and literary associations that emerged with European Sym

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MOSENDZ, Oksana. "Symbolics of colour in the painting of Ukrainian symbolist artists of the early 20th century." Humanities science current issues 2, no. 36 (2021): 50–58. http://dx.doi.org/10.24919/2308-4863/36-2-8.

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Taroff, Kurt. "The Spectacle Within: Symbolist Painting and Minimalist Mise-en-Scène." Nineteenth Century Theatre and Film 42, no. 2 (2015): 211–27. http://dx.doi.org/10.1177/1748372716643336.

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Nikolić, Jovana. "Symbolism and imagination of the medieval period: The lady and the unicorn in the works of Gustave Moreau." Kultura, no. 168 (2020): 51–68. http://dx.doi.org/10.5937/kultura2068051n.

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The French Symbolist painter Gustave Moreau often used the motifs of fantastic beings and animals in his works, amongst which the unicorn found its place. Moreau got the inspiration for the unicorn motif after a visit to the Cluny Museum in Paris, in which six medieval tapestries with the name "The Lady and the Unicorn" were exhibited. Relying on the French Middle Age heritage, Moreau has interpreted the medieval legend of the hunt for this fantastic beast (with the aid of a virgin) in a new way, close to the art of Symbolism and the ideas of the cultural and intellectual climate of Paris at t

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Savić, Isidora S. "Between Idyllic and Pessimistic Landscape: Nature Painting in Italian Symbolist Art." Зборник Матице српске за ликовне уметности 2024, no. 52 (2024): 155–66. https://doi.org/10.18485/ms_zmslu.2024.52.7.

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Dissertations / Theses on the topic "Symbolist painting"

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Cole, Brendan. "The mythic feminine in symbolist art idealism in fin-de-siècle painting." Thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/23189.

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Grigorian, Natasha. "The use of myth in European Symbolism, with reference to selected examples of Symbolist poetry and painting in France, Germany and Russia." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.424886.

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Grew, Rachael. "The evolution of the alchemical androgyne in symbolist and surrealist art." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/1858/.

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The relationship between Symbolism and Surrealism is well known yet scarcely documented in detail. This thesis aims to address this oversight by exploring the connections between these two movements, specifically through investigating their shared motif of the androgyne. The androgyne embodies the professed aim of each of these groups: the transcendence of the physical in favour of the ephemeral for the Symbolists, and the unification of opposites for the Surrealists. Equally, both movements have an interest in the occult, and the androgyne is a key image within the occult tradition symbolisin

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Heyraud, Hélène. "Revoir le symbolisme pictural : le cas de Gustave Moreau : thème du féminin, style, réception critique." Thesis, Rennes 2, 2022. https://tel.archives-ouvertes.fr/tel-03685520.

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Le symbolisme est généralement considéré comme un mouvement littéraire, unifié par le thème du féminin. Or, la peinture occupe elle aussi une place importante dans la constitution du symbolisme et le thème du féminin ne saurait être l’entrée unique pour appréhender ce mouvement. Cette thèse se propose d’interroger les présupposés dominants sur ce mouvement : l’antériorité du symbolisme littéraire sur le symbolisme pictural, l’importance du thème du féminin dans la peinture, le manque voire l’absence des études stylistiques. Le corpus symboliste étant vaste, le peintre Gustave Moreau est érigé

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Varallo, Patrick Americo. "Abstract symbolic relationships /." Online version of thesis, 1993. http://hdl.handle.net/1850/11758.

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Reeder, Douglas Bell. "Symbolism and textual painting in four vocal works by George Crumb /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487942739806089.

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Reeder, Douglas Bell. "Symbolism and textual painting in four vocal works by George Crumb /." Connect to resource, 1997. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1184616880.

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Drew, Rodger. "Symbolism and sources in the painting and poetry of Dante Gabriel Rossetti." Thesis, University of Glasgow, 1996. http://theses.gla.ac.uk/3426/.

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The Thesis examines the symbolism, and the sources of that symbolism, in the poetry and painting of Dante Gabriel Rossetti. Chapter 1 considers the significance of the title of Rossetti's sonnet-sequence The House of Life. Chapter 2 looks at the opening sonnets of that sequence. Chapter 3 scrutinises the sonnet quartet of the Willow-wood sequence. Chapter 4 evaluates the influence of Platonism and Neoplatonism in Rossetti's art. Chapter 5 is concerned with Rossetti's use of allegory. Chapter 6 surveys the influence of Rosicrucianism on Rossetti and his immediate circle of the pre-Raphaelite Br

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Gorrill, Helen. "Gendered economic and symbolic values in contemporary British painting." Thesis, Lancaster University, 2016. http://eprints.lancs.ac.uk/86852/.

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DiMarco, Christa Rose. "Painting in Paris: Vincent van Gogh, 1886-1888." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/350384.

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Art History<br>Ph.D.<br>In Painting in Paris: Vincent Van Gogh, 1886-1888, Christa DiMarco explores the two-year period Van Gogh lived and worked in Paris. The paintings the artist made in The Netherlands, where he lived prior to Paris, and those he produced in Arles, where he moved afterward, usually receive scholarly attention. The imagery from the artist’s time in the capital is generally marginalized. DiMarco considers how and why the artist used a brighter palette and energetic brushwork while painting in Paris. Considering that his artistic practice spanned only a decade from 1880 to 189

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Books on the topic "Symbolist painting"

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Goldwater, Robert John. Symbolism. Westview Press, 1998.

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Aleksandr, Stefanovich, and Nikonet͡s A, eds. Simvolizm: Symbolism. Zhivem, 2011.

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Richard, Schiff, ed. Gauguin: The origins of symbolism. Philip Wilson, 2004.

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Yoon, Yeolsu. Folk painting. Yekyong, 2002.

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Vincent W. J. van Gerven Oei. Allegory of the cave painting. Mousse Publishing, 2015.

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Ptak, Artur. Kwadrat myśli: Od alegorii do autorskiego znaku. Muzeum Narodowe w Kielcach, 2018.

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Gauguin, Paul. Gauguin and the origins of symbolism. Edited by Solana Guillermo, Shiff Richard, Cogeval Guy, Jiménez-Blanco Carrillo de Albornoz, Ma. Dolores, Museo Thyssen-Bornemisza, and Fundación Caja de Madrid. Philip Wilson Publishers in association with Museo Thyssen-Bornemisza and Fundación Caja de Madrid, 2004.

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8

Namingha, Dan. Dan Namingha: A painterly approach to Native American symbolism. Board of Governors of the Federal Reserve System, 2009.

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Lederle, Matthew. Christian painting in India through the centuries. Heras Institute of Indian History and Culture, 1987.

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Gelfer-Jørgensen, Mirjam. Medieval Islamic symbolism and the paintings in the Cefalù Cathedral. E.J. Brill, 1986.

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Book chapters on the topic "Symbolist painting"

1

Robinson, Alan. "Symbolism, Impressionism and ‘Exteriority’." In Poetry, Painting and Ideas, 1885–1914. Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-07190-6_2.

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Cuxima-Zwa, Chikukwango. "Performativity of Body Painting: Symbolic Ritual as Diasporic Identity." In Narratives in Black British Dance. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70314-5_10.

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Better, Alison. "Painting Desire Pink: Meaning-Making at a Romance Sex Store." In Selves, Symbols, and Sexualities: An Interactionist Anthology. SAGE Publications, Ltd, 2015. http://dx.doi.org/10.4135/9781483399263.n8.

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Wyzewa, Teodor de. "Notes on Wagnerian Painting (1886)." In Symbolist Art Theories. University of California Press, 1994. http://dx.doi.org/10.1525/9780520912397-036.

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Aurier, G. Albert. "Symbolism in Painting: Paul Gauguin (1891)." In Symbolist Art Theories. University of California Press, 1994. http://dx.doi.org/10.1525/9780520912397-047.

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"1. Poetry and Painting." In Wallace Stevens and the Symbolist Imagination. Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400867233-004.

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Karg, Josephine. "The Role of Russian Symbolist Painting for Modernity: Mikhail Vrubel’s Reduced Forms." In The Symbolist Roots of Modern Art. Routledge, 2017. http://dx.doi.org/10.4324/9781315085104-6.

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Freeman, Nicholas. "‘That Untravell’d World’: Symbolist London." In Conceiving the City: London, Literature, and Art 1870–1914. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199218189.003.0004.

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Abstract In H. G. Wells’s story, ‘The Door in the Wall’ (1906), an ambitious MP, Lionel Wallace, tells his friend Redmond how he is troubled by a recurring vision of a green door in a white wall. As a small child he had opened the door and entered a garden of surpassing loveliness where he played with gentle panthers and met a ‘sombre dark woman, with a grave, pale face and dreamy eyes’ who might have stepped from a Burne-Jones painting. When he returns to ‘a long grey street in West Kensington, in that chill hour of afternoon before the lamps are lit’, he is overpowered by a Wordsworthian sen

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Grigorian, Natasha. "The Symbolist Context of the Siren Motif in Moreau’s Painting and Bryusov’s Poetry." In Text and Image in Modern European Culture. Purdue University Press, 2012. http://dx.doi.org/10.2307/j.ctt6wq47q.6.

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Kieffer, Alexandra. "Introduction." In Debussy's Critics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190847241.003.0001.

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A reception history of Debussy’s music in the years after the 1902 premiere of Pelléas et Mélisande reveals the many interconnections between musical culture and early-twentieth-century intellectual culture in Paris, including recent developments in the human sciences, and can reorient the broader narrative of musical culture in this period away from comparisons to Symbolist poetry and Impressionist painting. This reception history likewise invites a reconsideration of musical experience in musicological scholarship and its relationship to hermeneutics, offering an alternative to the tendency

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Conference papers on the topic "Symbolist painting"

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Rudenko, Svetlana, and Mads Haahr. "Psychogeography with Jack B. Yeats Art Sounding Gallery: Augmented Reality Locative Experience for Blind People." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001639.

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Sensory Substitution Devices (SSDs) are a relatively novel concept, based on the idea of the multisensory brain. Research on synaesthesia and sensory pairings has revealed that sensory modalities of the brain are interconnected. Nature has demonstrated examples of people who have lost one sense, which has then been substituted by increased ability in another, for example the case of Daniel Kish who navigates like a bat (Burgess, 2021) by clicking of the tongue (echolocation principle). To find a methodology for translating information from one sense to another, or substitute one sense with ano

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Алиев, Хикмет. "ВЗАИМОВЛИЯНИЕ ИКОНОГРАФИИ ЖИВОПИСИ И ИСКУССТВЕННОГО ИНТЕЛЛЕКТА". У “Müasir incəsənət məkanında süni intellekt: problemlər və perspektivlər” Beynəlxalq elmi-nəzəri konfrans. İnformasiya Texnologiyaları İnstitutu, 2025. https://doi.org/10.25045/asucaai.2025.33.

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Iconography, as the study of symbols and themes in visual arts, is a key tool for understanding the cultural and historical context of paintings. With the development of artificial intelligence (AI), particularly in the fields of computer vision and generative models, new opportunities and challenges arise for iconographic analysis and even the creation of works with specified symbolic content. This article explores the potential of AI for automatic recognition of iconographic elements in painting, using modern computer art as an example. It analyzes their semantic relationships and frequency

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Mankovskaya, N. "POST-RECEPTIVE HERMENEUTICAL METHOD IN THE AESTHETICS OF FRENCH SYMBOLISM." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2540.978-5-317-06726-7/32-35.

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The report discusses the features of the post-receptive hermeneutical method in the philosophy of art of P. Claudel,representing the Catholic line in the aesthetics of French symbolism,and J. Péladan,critic of official Catholicism,interpreting art in the mystical and esoteric way. The author reveals the symbolic essence of Claudel's reflections on Dutch, Spanish and French painting and contemporary art. The author reveals the character of J. Péladan's interpretation of Dante's “Divine Comedy”,which he read as an esoteric,rather than a love story,mystical revelation.

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Makarevičs, Valerijs, and Dzintra Ilisko. "Figuratively Semantic Analysis of Works of Art." In 14th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2021. http://dx.doi.org/10.22616/reep.2021.14.044.

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Topicality of the study is related to the in-depth study of the art of works of Van Gogh, Velázquez and Repin by relating art to the biography of these authors. The aim of the study is to explore the symbolism and the biography of the painters using the examples of analysis from the works of Van Gogh, Velasquez, and Repin and also to determine the conditions that contribute to the awareness of the process of perception and understanding of paintings. The methodology of this study is figuratively symbolic method used with the purpose to compare the plots of the art and to relate them to the lif

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Lin, Weiran. "The Difference of the Symbolism between Chinese Painting and Western Painting." In 2nd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/iccessh-17.2017.128.

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Li, Fang. "Symbolic Recognition of Kramskoy's Figurative Painting Language." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.121.

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Sun, Hanying. "Creation and Interpretation: Study on the Symbolism of Traditional Chinese Painting." In The 5th International Conference on Art Studies: Research, Experience, Education (ICASSEE 2021). Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789048557240/icassee.2021.035.

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Xu, Cui, and Qiulin Qu. "Analysis of the role of symbolic language in oil painting creation." In 2016 2nd International Conference on Economics, Management Engineering and Education Technology (ICEMEET 2016). Atlantis Press, 2017. http://dx.doi.org/10.2991/icemeet-16.2017.113.

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Mgallad, Ali. "Leave the Hedgehog Alone! The Problem of Privacy in Paul Muldoon's Hedgehog." In 3rd International Conference on Language and Education. Cihan University-Erbil, 2023. http://dx.doi.org/10.24086/iclangedu2023/paper.942.

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Paul Muldoon is an outstanding Irish poet. One of his poetry's characteristics can be coined as the 'intricate spontaneity,' which does the most that it does, inspires. This paper deals with the problem of privacy in his poem the Hedgehog. Privacy is an essential right that everyone must have. Its importance is huge as it relates to such areas as identity, sovereignty... etc. The paper is an attempt to follow the brush touches by which the poet draws the object of his painting, the hedgehog. It aims at observing the animal closely both externally as well as internally. In respect to the extern

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Yuhang, Chen, and Iarina Savitkaia-Baraghin. "Image representation and formulation of artistic concept in oil landscape painting." In „Cultura şi arta: cercetare, valorificare, promovare”, conferinţă ştiinţifică naţională. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2025. https://doi.org/10.55383/ca2025.15.

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This article explores the core roles and philosophical connotations of artistic conception and imagery in artistic expression. By analyzing representative works of masters such as Zao Wou-Ki, Chu Teh-Chun, and J.M.W. Turner, it reveals the integration of emotion and scenery, the symbolic representation of imagery, and the interplay between abstraction and figuration in artistic creation. Drawing on personal creative practice, it examines the continuation and innovation of traditional imagery in contemporary art, presenting the aesthetic pursuit of “imagery beyond the image” and “conception bey

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