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Journal articles on the topic 'Symbolist painting'

Author: Grafiati

Published: 3 June 2022

Last updated: 31 July 2025

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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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5

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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8

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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Kostetskaya, Anastasia. "Symbolism in Flux: The Conceptual Metaphor of "World Liquescence" Across Media, Genres and Realities." Slavic and East European Journal 59, no. 3 (2015): 413–30. http://dx.doi.org/10.30851/59.3.004.

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“Symbolism in Flux: the Metaphor of World Liquescence across Media, Genre and Realities” examines cultural implications of conceptual metaphor, in this case the metaphor of liquescence of the human emotional domain. The central question discussed in my paper is how poetics of water is metaphorically present in visual discourses of boundary transgression and blending, both static and dynamic, namely painting and film of the Russian Symbolist period. In my analysis of the painterly and cinematic texts selected, I apply concepts from cognitive linguistics, specifically Conceptual Metaphor Theory

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12

Walden, Lauren. "Transmediality in Symbolist and Surrealist Photo-Literature." Open Cultural Studies 1, no. 1 (2017): 214–31. http://dx.doi.org/10.1515/culture-2017-0020.

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Abstract The fin de siècle period throughout Europe undoubtedly cultivated the “interdisciplinary principle of la fraternité des arts” (Genova 158). Literature, poetry, visual art and music superseded former hierarchical structures favouring the painterly. Correspondence between intellectuals would cross-fertilise between disparate realms through publishing in interdisciplinary cultural journals that were distributed internationally across cosmopolitan cityscapes. The ability for the photograph to be mechanically reproduced, postulated by Walter Benjamin in 1936, allowed for one of the first t

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Cynkier, Maria Anna. "James Ensor." Groundings Undergraduate 10 (November 1, 2017): 76–93. http://dx.doi.org/10.36399/groundingsug.10.189.

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The article aims to outline the motifs present in works of James Ensor, a Belgian artist, whose art relates to the Symbolist approach to painting. By iconographical analysis combined with the examination of social factors, this article will evaluate Ensor’s contribution to the Symbolist practice during the end of the 19th century. Neglected for a long time by the discipline of art history, his flamboyant visions depicting masks and skeletons are now thought to constitute important emblems allowing for the exploration of the fin-de-siècle soul, troubled by progress and uncertainty and manifeste

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Ярослав, Кравченко. "Юхим Михайлів і Охрім Кравченко: точки дотику життєвого та творчого шляху". Ярослав Кравченко, № 31 (10 травня 2017): 182–87. https://doi.org/10.5281/zenodo.573829.

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Analyzed life by Ukrainian artist symbolist Efim Myhayliva and future artist boychukisty Ohrid Kravchenko peasant boy from the Kiev region, who came to study quota Komnezam who crossed the Kyiv artistic and industrial Industrial School in autumn 1921 on the basis of notes of "biographies" Alexander Kravchenko brief teaching career highlights Yu Myhayliva in industrial Kiev Art industrial school. Presented as a period of artistic and industrial school when she was appointed Director J. Michael, who had a good technique of oil painting, watercolor and pastel.

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Sydor, Oleg. "The bad good painter." Art Research of Ukraine, no. 22 (November 29, 2022): 58–64. http://dx.doi.org/10.31500/2309-8155.22.2022.270885.

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Oleg Sydor-Hibelynda's article raises the issue of the existence of a European Salon in the context of Modernist art, some on which the Salon uses. French painter Georg-Antoine Rochegrosse (1859– 1939) іs one of those who tried to combine salon academicism and individual images of symbolism and decadence; far examples, he illustrated «Fleur du Mal» by Charles Baudelaire and«Salambo» by Gustav Flaubert, he also designed opera performances, popularized oriental themes. Reproductions of his works were published in huge edition, performances based on his paintings caused scandals. He was admired b

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Davenport, Nancy. "Christ aux Outrages by Henry De Groux: Fin de Siècle Religion, Art Criticism, and the Sociology of the Crowd." Religion and the Arts 7, no. 3 (2003): 275–98. http://dx.doi.org/10.1163/156852903322694645.

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AbstractThe Belgian symbolist painter, Henry De Groux (1866-1930), produced in his life one masterwork, Christ aux Outrages (1888-1889), a vast painting (293-363 cm.) which both embodies his own tormented nature and that of many similarly unsettled fin de siècle Catholics in that age of Positivism, secularization, European sabre rattling, and anarchism. Following its success in the Salon Triennal in Brussels, Henry De Groux, financed by King Leopold II of the Belgians, brought his painting to Paris in 1890 where it was exhibited in the Salon des Arts Liberaux, after being rejected by the salon

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17

Tanase, Mihaela-Florina. "Contemporary Actionism as a Total Work of Art." Visual Studies 8, no. 2 (2024): 187–93. http://dx.doi.org/10.54664/zoli9064.

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The following report explores Richard Wagner’s concept of total art or Gesamtkunstwerk, a notion that gained prominence in the 19th century and found resonance in Symbolist art. This movement interpreted total art as a synthesis of various artistic forms, particularly music and theatre, infused with spiritual significance. Our objective is to demonstrate that in contemporary performative art, the integration of diverse media could give rise to a comprehensive work of art, akin to Wagner’s original vision. The article contends that performative art and actionism, by employing complementary arti

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Lloyd, Rosemary, Mallarme, and James Kearns. "Symbolist Landscapes: The Place of Painting in the Poetry and Criticism of Mallarme and His Circle." Modern Language Review 86, no. 3 (1991): 739. http://dx.doi.org/10.2307/3731087.

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Tubić, Dejan. "The theme and symbolism of the bridge in European and Serbian early modernist painting." Zbornik radova Filozofskog fakulteta u Pristini 55, no. 2 (2025): 343–70. https://doi.org/10.5937/zrffp55-57379.

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In the period from the late 19th century to the early 20th century, the bridge motif in European and Serbian early modernist painting expanded the visual and symbolic phenomenology of the bridge. Through its architecture and symbolism, the bridge overcomes barriers, leads into the unknown and uncertain, and opens a dialogue between different spaces and times. The bridge is a path that one must cross, yet also return to. It serves as an archetypal representation of connection and separation, permanently present in human morphogenesis. The bridge establishes a correspondence between individuals,

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Williams-Hogan, Jane. "Influence of Emanuel Swedenborg’s Religious Writings on Three Visual Artists." Nova Religio 19, no. 4 (2016): 119–44. http://dx.doi.org/10.1525/nr.2016.19.4.119.

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Emanuel Swedenborg (1688–1772) claimed to be an eyewitness to the Apocalypse. Called to be “Servant of the Lord,” he wrote eighteen works in which he defined a new Christianity. While he never formed a church, he distributed his books widely throughout Europe. They stimulated some people to found new religious organizations, some to write in new poetic and literary forms, and others to revolutionize sculpture and painting. These artists found in Swedenborg’s works a vibrant source of a new aesthetic vision. The elements of Swedenborg’s theology that helped to shape that new aesthetic are prese

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McGUINNESS, P. "Review. Symbolist Landscapes: The Place of Painting in the Poetry and Criticism of Mallarme and his Circle. Kearns, James." French Studies 51, no. 4 (1997): 494. http://dx.doi.org/10.1093/fs/51.4.494.

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22

Sokolyuk, L. "Ladislav Trakal’s Art and Crafts Workshop of Decorative Painting in Kharkiv (1899–1921)." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2020, no. 3 (2020): 62–72. http://dx.doi.org/10.33625/visnik2020.03.062.

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The article attempts to outline the activities of Kharkiv art and craft workshop of decorative painting, headed by a Czech creator Ladislav Trakal in 1899. The introduction of some new archival documents into scientific circulation showed that there was a close connection between the pedagogical system of Rayevska‑Ivanova’s school, founded in 1869, and Trakal’s decorative‑handicraft workshop. The 4‑year industrial art school in Prague, which Trakal graduated from in 1896, did not have the status of a higher art institution at that period of time. When Trakal arrived in Kharkiv and headed the d

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Chlenova, Masha. "Staging Soviet Art: 15 Years of Artists of the Russian Soviet Republic, 1932–33." October 147 (January 2014): 38–55. http://dx.doi.org/10.1162/octo_a_00165.

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A documentary photograph from the exhibition 15 Years of Artists of the RSFSR (Khudozhniki RSFSR za 15 let) that opened in Moscow in June 1933 shows the extent to which contemporaries perceived this show as a watershed, a moment when the last remnants of the bourgeois culture of prerevolutionary Russia definitively gave way to the proletarian culture of the rapidly modernizing Soviet Union. A clean-cut and athletic Soviet youth looks straight into the eyes of the refined symbolist poet, playwright, critic, and translator Mikhail Kuz'min as painted in 1926 by a fellow member of the artistic gro

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Kirdeieva, Maiia. "Specificity of the musical interpretation of Arnold Böcklin's paintings by Max Reger." UKRAINIAN CULTURAL STUDIES, no. 2 (11) (2022): 39–42. http://dx.doi.org/10.17721/ucs.2022.2(11).07.

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The article analyses the interaction of arts on the example of the program work Four Tone Poems after Arnold Böcklin by Max Reger, written under the impression from the paintings by Arnold Böcklin, a Swiss symbolist painter. New perspectives were found in the study of the composer's individual style. The analysis of the composition Four Tone Poems after Arnold Böcklin (1913) gives the possibility to investigate M. Reger's views on works of fine art manifested in the specific features of the music piece as well as the role of visual impression and its place in the construction of musical images

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Gillespie, G. "The spaces of truth and cathedral window light." Literator 17, no. 3 (1996): 93–118. http://dx.doi.org/10.4102/lit.v17i3.624.

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Major writers and painters of the Romantic period interpreted the church or cathedral in its organic and spiritual dimensions as a complex expression of a matured Christian civilization. Artists of the mid-nineteenth century continued to produce both secular and religious variations upon this established referentiality. Although divergent uses reciprocally reinforced the fascination for the central imagery of the church and its multiple contexts, they also came to suggest a deeper tension in Western development between what the church had meant in an earlier Europe and what it might mean for l

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Kikhney, L. G., and A. A. Ustinovskaya. "Translation of Michelangelo’s Fifth Sonnet by Vyacheslav Ivanov: Issue of Equivalency and Translation Transformations." Nauchnyi dialog 13, no. 5 (2024): 240–55. http://dx.doi.org/10.24224/2227-1295-2024-13-5-240-255.

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This article focuses on the translation of Michelangelo Buonarroti’s fifth sonnet by Vyacheslav Ivanov in 1925. The sources used include the translated text and the manuscript of the original text, accompanied by the author’s drawing. Comparative analysis results of Ivanov’s translation and a literal translation by the authors are presented. It emphasizes Michelangelo’s original concept related to deforming the sonnet form (20 lines instead of 14, with two additional tercets added), resonating with the sonnet’s content, specifically describing his physical sufferings and uncomfortable poses wh

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Nepriiatel, Iulia. "Symbolism and Semantics of Animalistic Images in Russia's People's Paintings: Yesterday, Today, Tomorrow." Proceedings of Altai State Academy of Culture and Arts, no. 2 (2022): 32–39. http://dx.doi.org/10.32340/2414-9101-2022-2-32-39.

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The author briefly describes genesis and meaning of imaginative systems of traditional painting of Russian and Altaians (in particular, Mezen, group of Severodvinsk, and Uymon paintings) backed by results of studies got by fine art experts and art historians. The paper shows a relation between age of various types of decorative paintings and a level of their complexity and semantic richness. Theoretic approaches to understanding of cultural senses of typical animalistic images, that produce freestanding semiotic composition are arranged. Also, the author analyzes zoomorphic motifs in ornamenta

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Ma, Xueyang. "Iconography Analysis--Symbolism in Joan Miró i Ferrà's Surreal Works." Frontiers in Humanities and Social Sciences 2, no. 6 (2022): 54–58. http://dx.doi.org/10.54691/fhss.v2i6.893.

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Joan Miró (20 April1839 --25 December 1983), was a Spanish painter, sculptor, ceramicist, printmaker and representative figure of surrealism, is one of the surrealist painting masters in the 20th century who are as famous as Picasso and Dali. In 1924, Miró deeply felt the ideological influence of surrealism in Paris, and he always insisted on the creation of surrealism in his artistic creation career in his later life. In style, Joan Miróis different from Picasso in the same period and Dali in naturalism. Joan Miró said: 'I make no distinction between poetry and painting.'. In his works, it cl

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Takho-Godi, E. A. "“Impressionism of thought”: Towards an understanding of Vladimir Solovyov's term in an article on the poetry of Konstantin Sluchevsky." Solov’evskie issledovaniya, no. 2 (June 30, 2025): 139–60. https://doi.org/10.17588/2076-9210.2025.2.139-160.

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The article proposes a new approach to the interpretation of Vladimir Solovyov's article “Impressionism of thought”, devoted to the work of the pre-symbolist poet Konstantin Sluchevsky (1837–1904). It is shown that the very concept of “impressionism of thought” introduced by the philosopher in this literary-critical text in order to characterize the poetry of Sluchevsky has not yet been finally clarified. It is argued that in order to reveal the original meaning that Solovyov put into this formulation, it is necessary to take into account the biographical factor, as it helps to clarify both th

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Yudenkova, Tatiana V. "I.A. Morozov’s art collection: the Russian context and the ways of Russian art." LOMONOSOV HISTORY JOURNAL 65, no. 4, 2024 (2025): 177–206. https://doi.org/10.55959/msu0130-0083-8-2024-65-4-177-206.

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In the context of Russian art culture, Ivan Morozov occupies a position of distinction as a prominent collector of contemporary French and Russian art. The influence of his collection on the subsequent development of Russian art, most notably on the generation of young avant-garde artists, is indisputable in the present day. However, it was not until relatively recently that the full significance of the collection and the role of I.A. Morozov in the history of Russian culture was fully recognized. The period of Morozov’s immersion in the European art market, spanning approximately ten years fr

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Иванченко, Светлана Анатольевна. "On Some Features of M. A. Voloshin’s Color Picture of the World and the Means of its Verbalization." Tomsk state pedagogical university bulletin, no. 1(225) (January 30, 2023): 95–102. http://dx.doi.org/10.23951/1609-624x-2023-1-95-102.

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Особый интерес М. Волошина к цветонаименованиям вызван как особенностью эпохи (Серебряный век), так и его увлечением не только поэтическим словом, но и в равной степени изобразительным творчеством. Цветовая картина мира стихотворений М. Волошина отличается многообразием колорем, передающих оттенки того или иного цвета, и необычностью создаваемых цветообразов, в которых обнаруживаются особенности восприятия автором мира. В статье приводятся результаты исследования семантики и символического значения частотных колорем, встречающихся в лирических текстах М. Волошина, данные анализа отдельных стих

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Wang, Yuheng. "Symbolic Iconography of Leonardo da Vinci in Relation to Nature." Journal of Education, Humanities and Social Sciences 21 (November 15, 2023): 70–82. http://dx.doi.org/10.54097/ehss.v21i.13034.

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The field of Leonardo da Vinci Studies has seen rapid advancement in recent years. Multiple research projects have been conducted on Leonardo’s observation of the natural world in relation to his inventions and painting techniques. Nonetheless, there lacks a consensus on how nature has impacted Leonardo’s interpretation of religious icons, such as the Virgin and the Christ Child. Therefore, this paper emphasizes Leonardo’s recreation of visual narrative using symbolism and natural setting within his series of icon paintings. The study opens with an inspection of the preceding Byzantine style a

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Bychkov, Victor. "Metaphysics of a landscape in symbolism." Культура и искусство, no. 4 (April 2020): 53–70. http://dx.doi.org/10.7256/2454-0625.2020.4.31966.

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This research is dedicated to examination of a specific role of landscape in symbolism. Based on comprehensive analysis of the works of symbolists and artists of their circle &ndash; Segantini, B&ouml;cklin, Gauguin, Nesterov, &#268;iurlionis, the author attempts to determine the characteristic features of using the images of nature in the overall system of pictorial artistic-aesthetic expression. Special attention is paid to the problem of inscription of human figures into landscape, as in doing so many symbolists and artists of their circle were bringing the landscape to life, fo

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zendt, christina. "Marcos Zapata's Last Supper: A Feast of European Religion and Andean Culture." Gastronomica 10, no. 4 (2010): 9–11. http://dx.doi.org/10.1525/gfc.2010.10.4.9.

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In Marcos Zapata's 1753 painting of the Last Supper in Cuzco, Peru, Christian symbolism is filtered through Andean cultural tradition. Zapata was a late member of the Cuzco School of Painting, a group comprised of few European immigrants and handfuls of mestizo and Indian artists. The painters in Cuzco learned mostly from prints of European paintings, and their style tends to blend local culture into the traditional painting of their conquistadors. Imagery was the most successful tool used by the Spaniards in their quest to Christianize the Andean population. By teaching locals to paint Christ

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Lawder, Rebecca. ""Erotic Nature"." Athanor 37 (December 3, 2019): 67–78. http://dx.doi.org/10.33009/fsu_athanor116675.

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To decode John Dunkley’s dark and sexual landscape is also to reveal a decolonial message in his broader works. Dunkley humanizes nature through both masculinizing phallic and feminizing yonic symbolism as an emancipatory tactic, thereby reflecting a culturally nuanced relationship between people and landscape. Dunkley subverts the expected in Caribbean painting, especially for foreign consumers. By bringing nature to life, his paintings offer subversive anti-colonial themes, too, waiting for decipherment. This paper will examine Dunkley’s use of erotic imagery, arguing that the painter’s sexu

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Ma, Zhouyi. "Characteristics of Qinghai Traditional Painting Art-Literature Analysis." Highlights in Art and Design 7, no. 2 (2024): 57–61. http://dx.doi.org/10.54097/e7r5aq95.

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Qinghai’s traditional painting art, influenced by its diverse ethnic cultures and religious practices, is a unique fusion of Tibetan, Han, and Mongolian elements. Originating from ancient rock art, Qinghai painting has evolved into a complex system characterized by realism, symbolic representation, and vibrant colors. Tibetan Buddhism plays a significant role in shaping the themes and styles of Qinghai’s art, particularly in Thangka and mural paintings. These art forms, rich in religious symbolism, are not only visual representations of spiritual teachings but also educational tools that pass

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Shulika, Viacheslav. "Sumy Regiment Iconostases of the First Half of the 18th Century." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2022, no. 1 (2022): 62–72. http://dx.doi.org/10.33625/visnik2022.01.062.

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The study of the iconostases of Slobidska Ukraine in the 17th century made it possible to establish that the altar septums in different regiments of Slobozhanshchina had their own specific features. Three groups of iconostases were discovered: Sumy-Ostrogozhska, Kharkiv-Izyumska and Okhtyrska. Despite the general similarity of the iconostases of Slobozhanshchina at different historical stages, each had its own peculiarities in the solution of the altar septums. Despite the small amount of visual material, it can be argued that in the first half of the 18th century, the Sumy group of monuments

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Payette, Jessica. "Post-WagnerianKlangempfindungen: The Premieres of Maeterlinck Operas in Vienna." Nineteenth-Century Music Review 12, no. 2 (2015): 285–317. http://dx.doi.org/10.1017/s1479409815000336.

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The Viennese premieres of Dukas’sAriane et Barbe-bleueand Debussy’sPelléas et Mélisandein 1908 and 1911 occurred over a decade after Maeterlinck’s literary style and Fernand Khnopff’s paintings were praised by Secessionist critics, including Hermann Bahr and Ludwig Hevesi. In Vienna, fin-de-siècle discourse treats impressionism and symbolism as aesthetic outgrowths of Ernst Mach’s notion of ‘antimetaphysical’ modes of existence. This article explores the broader Viennese reception of symbolism and its influence on music criticism, which predominantly contends that Debussy and Dukas divert from

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Sana, Ashraf T. "KERALA MURAL ART AND ITS TRADITIONAL PROCEDURES TO PAINT ON WALLS BY USING NATURAL MATERIALS." International Journal of Interdisciplinary Research in Arts and Humanities (IJIRAH) 5, no. 2 (2020): 4–8. https://doi.org/10.5281/zenodo.4013959.

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Mural paintings are usually seen in the walls and ceilings of temples and churches. Earlier Mural forms used natural materials and vegetative colors such as herbal dyes, fruits juices, and also chemicals obtained from stones and roots etc. Five colors are majorly used red, yellow, green, black, and white. Painting brushes are prepared by taking from grass and bamboos. Wooden utensils are used to mix colors and roller stone is to grind the mudstones to make pigment paste. Wall for traditional murals is done in three stages. The brick wall is a plastered mixture of lime and clean sand, different

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Joy, Francis. "To all our relations: evidence of Sámi involvement in the creation of rock paintings in Finland." Polar Record 50, no. 1 (2013): 108–11. http://dx.doi.org/10.1017/s0032247413000351.

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ABSTRACTResearch undertaken between 1960 to 1990 into what was once a rock painting tradition in Finland, lacked a clear understanding of parallels between the painted figures found at rock painting locations in the southern and central areas of the country, and the motifs painted on the heads of Sámi shaman divination drums from Lapland. However, due to the discovery and analysis of the content of more rock painting sites in Finland from 1990 up to the present, a more comprehensive framework has emerged in which scholars from across different academic disciplines have discovered many more sim

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الاحمد, حنان. "النخلة مصدراً للرؤية في التصوير التشكيلي السعودي". Uruk Journal 15, № 3-P1 (2022): 2010–31. http://dx.doi.org/10.52113/uj05/022-15/2010-2031.

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The elements that surround the artist in his local environment is one of the important components that formed the art painting, the palm tree has an important value and eminent place in the Saudi environment, led to its presence in the Saudi Art as one of the vision sources with its aesthetic and symbolic connotations in the artistic expression. The research aimed to track the palm tree depiction in the Saudi painting, and highlight its meanings, and the artistic methods to utilize the palm tree in art painting and that’s by several aspects: the shape, the symbolism and the expressive side. Th

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Ali, Alia Hadi, Marukh Khan, and Aqeel Abbas. "Unveiling Symbolism: The Allegorical Tapestry of Female Attire in Poetry and Art of Pakistan." Journal of Design and Textiles 2, no. 2 (2023): 114–31. http://dx.doi.org/10.32350/jdt.22.06.

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This research paper sheds light on the representation of traditional women from Punjab and their allegorical representation through Sufi poets and paintings. Women are and continue to be an integral part of art and artistic expression throughout human history from pre-history to modern times. The representation of women as an expression of art is an essential aspect in the history of art. This paper highlights the cultural and traditional depiction of women in the art of Chughtai, Ustad Allah Bux, Amrita Sher Gill and Anna Molka Ahmed through attire and its metaphorical representation. The sel

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Belova, Darya Nikolaevna. "Manifestation of female image in iconography of the Tibetan thangka and orthodox icon." Культура и искусство, no. 5 (May 2020): 1–17. http://dx.doi.org/10.7256/2454-0625.2020.5.32764.

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This article analyzes the female beginning reflected in the Buddhist art of thangka, and emphasizes its specificity in comparison with the Orthodox icon. The author examines symbolism of the key visual elements that form iconography of female characters and their color solution, as well as analyzes the symbolism of light in thangka painting and painting of icons. In drawing parallels between light symbolism of a female image in both types of religious paintings, the author determines their definite similarity in perception of light as a divine beginning of enlightened mind. The subject of this

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Standage, Ryan, and Nathan Nossal. "A Theory of Pablo Picasso’s Palette of Words: Indexed Information and Context in His Art and Poetry Spanning the Occupation." Arts 14, no. 2 (2025): 39. https://doi.org/10.3390/arts14020039.

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It has always been understood that Pablo Picasso imbued his arts with a rich symbolism. Those representations could be understood readily, at times only with some effort, or utterly inaccessible at others. A part of that symbolism is yet to be understood, with numerous points of information and cross-reference “hiding” in plain sight. He was fond of newsprint as a substrate and medium for painting, not only during wartime, but especially so in the deprivations of World War II. The relationship between some paintings typical during the period and the newsprint on which they were done was intens

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Shevtsova, Anna Alexandrovna. "Ethnicity and traditionalism in the contemporary Kazakhstan art." Samara Journal of Science 5, no. 2 (2016): 136–40. http://dx.doi.org/10.17816/snv20162214.

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Popularity of ethnographic plots in contemporary Kazahstans painting let us discuss ethnic mobilization in this region. Also we get possibility to analyze this process using paintings as ethnographical source. Author analyses iconography of painting, graphics, design, decorative and applied art looking for plots with ethnic makers and typical traits linked with ethnic theme, mythology and cultural heritage of Kazakhstan. Research of reconstructing ethnicity through the contemporary visual culture shows us special aspects of complex visual symbol of the country. Among these aspects, we should l

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Dubey, Kumud. "PLANT SYMBOLISM IN PAINTING." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 92–94. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3707.

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The great flower artists have been those who have found beauty in truth, who have understood plants scientifically and who have yet seen and described them with eye and hand of the artist. Plants, flowers and other foliage symbolize emotions, ideas and actions. Each plant has its own meaning. Painting art and plant illustration is beneficial for modern society because nature inspiring art and art preserving nature.

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Dr, (Smt.) Kumud Dubey. "PLANT SYMBOLISM IN PAINTING." International Journal of Research - Granthaalayah 7, no. 11(SE) (2019): 92–94. https://doi.org/10.5281/zenodo.3585071.

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The great flower artists have been those who have found beauty in truth, who have understood plants scientifically and who have yet seen and described them with eye and hand of the artist. Plants, flowers and other foliage symbolize emotions, ideas and actions. Each plant has its own meaning. Painting art and plant illustration is beneficial for modern society because nature inspiring art and art preserving nature.

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Abed, Murtadha Atewa. "THE INFLUENCE OF THEOSOPHY ON MODERN PAINTING." American Journal Of Social Sciences And Humanity Research 4, no. 4 (2024): 42–48. http://dx.doi.org/10.37547/ajsshr/volume04issue04-07.

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An interesting subject that delves into the junction of spirituality, philosophy, and creative expression is the effect of Theosophy on contemporary painting. In the late 19th century, Helena Petrovna Blavatsky established the spiritual movement known as Theosophy. Theosophy is a belief system that seeks to discover the truth about the oneness of all faiths and delve further into the secrets of life, positing the existence of concealed realities beyond the material world. During the late 19th and early 20th centuries, Theosophy wielded a transformative influence on the field of contemporary ar

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Άνθης, Μιχάλης Κ. "ΜΙΧΑΛΗΣ Κ. ΑΝΘΗΣ, Κώδικες έμφυλης αναπαράστασης στο εικαστικό έργο του Νίκου Εγγονόπουλου. Διακειμενική προσέγγιση". Σύγκριση 31 (28 грудня 2022): 51–62. http://dx.doi.org/10.12681/comparison.31273.

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Decoding gender representations in some paintings of Nikos Engonopoulos. An intertextual approach This paper approaches the narrative codes Nikos Engonopoulos used to present, in some of his paintings, the theme of gender representation with the conflicting extensions at an ideological and social level. His surrealist view is potentially a form of denouncement and subversion of dominant stereotypes and traditional meanings of the gender roles of his heroes or heroines. The paintings, which are selectively presented in this paper, reveal Engonopoulos's consistency towards the ethical, ideologic

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Borysiuk, Iryna. "The Artistic vs the Useful Opposition in Nataliia Kobrynska’s Prose Texts." NaUKMA Research Papers. Literary Studies 3 (September 2, 2022): 36–41. http://dx.doi.org/10.18523/2618-0537.2022.3.36-41.

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Some of Nataliia Kobrynska’s prose texts refer to the modernist motif of beauty that opposes materialistic and pragmatic world. The symbolic language of “The Hebrew Child” relies on the beautiful vs the useful opposition, given that this text is about the uselessness of beauty rather than about Hinda’s greed. In this mostly realistic sketch, the influence of aestheticism (the self-sufficiency of beauty) and decadence (the fragility of beauty) is sufficiently tangible. In “Liebesahnung,” Kobrynska in a specific way experiments with the unconscious work of memory and desire. The picture here is

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