Top 50 — Symbolists
Top 50 famous Symbolist painters: myths and mysteries
Gustave Moreau, Odilon Redon, Arnold Böcklin, Pierre Puvis de Chavannes and the other key figures in the ranking
This guide brings together 50 artists to place the Symbolists within the history of painting: influences, landmark works, distinctive gestures, and links to available collections.
Wikimedia CommonsWikidataMuseum collectionsAlpha Reproduction
50
biographical entries reviewed and structured
2026
editorial update
2
images sourced by artist when available
2026 edition
50
Artists
Alpha Reproduction editorial ranking
Context
What makes these painters essential?
This ranking is not a competitive leaderboard. It serves as a reading map: understanding the major artists, their lineages, their landmark works, and the way each name continues to matter in the visual imagination.
The entries favor clear, vivid, and verifiable writing. Each artist is presented with biographical landmarks, their pictorial gesture, an iconic work, and, when available, an associated collection of reproductions.
The ranks help navigate the page. They do not diminish the painters placed lower: some are founders, others are bridges, heirs, or peripheral figures without whom the movement would lose part of its depth.
Selection #1 to #10
Landmarks, lineages and works to know
This section brings together ranks 1 to 10. It allows you to move through the movement step by step, keeping together the artists who share the same family of forms, subjects or influence.
#1Gustave Moreau
Gustave Moreau is among the important landmarks of symbolism, because his work does not merely seek to describe the visible world. He sets myths, jewels, monsters and biblical visions within a dense, precious, almost incantatory painting. Landmarks: 1826-1898 · French · symbolism. In this family of images, painting becomes a language of signs: antique myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music or a spiritual truth that ordinary realism can no longer carry. In Gustave Moreau, this ambition takes an immediately legible form: at times precious, at times dark, at times decorative, at times almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the following avant-gardes. Symbolism prepares Art Nouveau through the taste for line, surrealism through the power of dream, and expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes and the hidden correspondences.
See the Gustave Moreau collection
#2Odilon Redon
Odilon Redon is among the important landmarks of symbolism, because his work does not merely seek to describe the visible world. He gives birth to floating eyes, mental flowers and silent apparitions, between black dream and inner color. Landmarks: 1840-1916 · French · symbolism. In this family of images, painting becomes a language of signs: antique myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music or a spiritual truth that ordinary realism can no longer carry. In Odilon Redon, this ambition takes an immediately legible form: at times precious, at times dark, at times decorative, at times almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the following avant-gardes. Symbolism prepares Art Nouveau through the taste for line, surrealism through the power of dream, and expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes and the hidden correspondences.
See the Odilon Redon collection
#3Arnold Böcklin
Arnold Böcklin stands among the important landmarks of symbolism, because his work does not seek merely to describe the visible world. His Isle of the Dead condenses an entire aesthetic: solitude, tombs, cypresses, marine silence, and metaphysical vertigo. Key dates: 1827-1901 · Swiss · symbolism. In this family of images, painting becomes a language of signs: ancient myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Arnold Böcklin's hands, this ambition takes a form that is immediately legible: sometimes precious, sometimes sombre, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the late nineteenth century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, surrealism through the power of dream, and expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
View the Arnold Böcklin collection
#4Pierre Puvis de Chavannes
Pierre Puvis de Chavannes stands among the important landmarks of symbolism, because his work does not seek merely to describe the visible world. His great calm figures, his pared-down landscapes, and his mural allegories give symbolism a monumental gravity. Key dates: 1824-1898 · French · symbolism. In this family of images, painting becomes a language of signs: ancient myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Pierre Puvis de Chavannes's hands, this ambition takes a form that is immediately legible: sometimes precious, sometimes sombre, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the late nineteenth century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, surrealism through the power of dream, and expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
Read on Wikipedia Pierre Puvis de Chavannes
#5Gustav Klimt
Gustav Klimt stands among the important landmarks of symbolism, because his work does not seek merely to describe the visible world. He transforms the body, gold, and ornament into visions suspended between sensuality, mystery, and decorative ritual. Key dates: 1862-1918 · Austrian · symbolism and Vienna Secession. In this family of images, painting becomes a language of signs: ancient myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Gustav Klimt's hands, this ambition takes a form that is immediately legible: sometimes precious, sometimes sombre, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the late nineteenth century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, surrealism through the power of dream, and expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
View the Gustav Klimt collection
#6Edvard Munch
Edvard Munch stands among the important landmarks of symbolism, because his work does not seek merely to describe the visible world. He paints anguish, desire, jealousy, and death as visible, vibrant, almost electric forces. Key dates: 1863-1944 · Norwegian · symbolism and expressionism. In this family of images, painting becomes a language of signs: ancient myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Edvard Munch's hands, this ambition takes a form that is immediately legible: sometimes precious, sometimes sombre, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the late nineteenth century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, surrealism through the power of dream, and expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
View the Edvard Munch collection
#7Fernand Khnopff
Fernand Khnopff stands among the important landmarks of symbolism, because his work does not merely seek to describe the visible world. His cold figures, inner sphinxes and locked gazes compose a theater of silence and enigma. Landmarks: 1858-1921 · Belgian · symbolism. Within this family of images, painting becomes a language of signs: antique myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Fernand Khnopff, this ambition takes an immediately readable form: sometimes precious, sometimes dark, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dreams, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
View the Fernand Khnopff collection
#8Jan Toorop
Jan Toorop stands among the important landmarks of symbolism, because his work does not merely seek to describe the visible world. His nervous lines, visionary women, and spiritual compositions connect Java, Brussels, and Art Nouveau. Landmarks: 1858-1928 · Dutch · symbolism. Within this family of images, painting becomes a language of signs: antique myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Jan Toorop, this ambition takes an immediately readable form: sometimes precious, sometimes dark, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dreams, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
View the Jan Toorop collection
#9Franz von Stuck
Franz von Stuck stands among the important landmarks of symbolism, because his work does not merely seek to describe the visible world. He gives myth a sculptural power: sphinxes, sin, centaurs, and nocturnal figures advance with authority. Landmarks: 1863-1928 · German · symbolism. Within this family of images, painting becomes a language of signs: antique myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Franz von Stuck, this ambition takes an immediately readable form: sometimes precious, sometimes dark, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dreams, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
View the Franz von Stuck collection
#10Félicien Rops
Félicien Rops stands among the important landmarks of symbolism, because his work does not merely seek to describe the visible world. Satirical, erotic, and demonic, he pushes the fin-de-siècle image toward scandal, bite, and black allegory. Landmarks: 1833-1898 · Belgian · symbolism. Within this family of images, painting becomes a language of signs: antique myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Félicien Rops, this ambition takes an immediately readable form: sometimes precious, sometimes dark, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dreams, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
View the Félicien Rops collection
Selection #11 to #20
Landmarks, lineages and key works to know
This section brings together ranks 11 to 20. It lets you move through the movement step by step, keeping together the artists who share a common family of forms, subjects or influences.
#11Carlos Schwabe
Carlos Schwabe stands among the important landmarks of symbolism, because his work is not content merely to describe the visible world. His angels, suffering, flowers and ideal visions crystallize symbolism in a sharp, almost mystical line. Landmarks: 1866-1926 · Swiss · symbolism. In this family of images, painting becomes a language of signs: ancient myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music or a spiritual truth that ordinary realism can no longer carry. In Carlos Schwabe's case, this ambition takes a form that reads immediately: sometimes precious, sometimes sombre, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he connects the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes and the hidden correspondences.
Read on Wikipedia Carlos Schwabe
#12Jean Delville
Jean Delville stands among the important landmarks of symbolism, because his work is not content merely to describe the visible world. He champions a spiritual, initiatory painting in which bodies seem traversed by invisible forces. Landmarks: 1867-1953 · Belgian · symbolism. In this family of images, painting becomes a language of signs: ancient myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music or a spiritual truth that ordinary realism can no longer carry. In Jean Delville's case, this ambition takes a form that reads immediately: sometimes precious, sometimes sombre, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he connects the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes and the hidden correspondences.
View the Jean Delville collection
#13Eugène Carrière
Eugène Carrière stands among the important landmarks of symbolism, because his work is not content merely to describe the visible world. His brown mists, his maternities and his melted faces reduce the world to an affective memory. Landmarks: 1849-1906 · French · symbolism. In this family of images, painting becomes a language of signs: ancient myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music or a spiritual truth that ordinary realism can no longer carry. In Eugène Carrière's case, this ambition takes a form that reads immediately: sometimes precious, sometimes sombre, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he connects the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes and the hidden correspondences.
Read on Wikipedia Eugène Carrière
#14Alphonse Osbert
Alphonse Osbert counts among the important landmarks of Symbolism, because his work does not merely seek to describe the visible world. He wraps his figures in a blue, lunar light, where the music of silence matters as much as the subject. Key facts: 1857-1939 · French · Symbolism. In this family of images, painting becomes a language of signs: ancient myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Alphonse Osbert's hands, this ambition takes an immediately legible form: at times precious, at times dark, at times decorative, at times almost metaphysical. What makes his place essential in this ranking is the way he connects the end of the 19th century to the following avant-gardes. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
Read about Alphonse Osbert on Wikipedia
#15Léon Spilliaert
Léon Spilliaert counts among the important landmarks of Symbolism, because his work does not merely seek to describe the visible world. His nights in Ostend, self-portraits, and empty perspectives give Symbolism a sharp, modern solitude. Key facts: 1881-1946 · Belgian · Symbolism. In this family of images, painting becomes a language of signs: ancient myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Léon Spilliaert's hands, this ambition takes an immediately legible form: at times precious, at times dark, at times decorative, at times almost metaphysical. What makes his place essential in this ranking is the way he connects the end of the 19th century to the following avant-gardes. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
See the Léon Spilliaert collection
#16George Frederic Watts
George Frederic Watts counts among the important landmarks of Symbolism, because his work does not merely seek to describe the visible world. He paints grand moral ideas with a Victorian solemnity, somewhere between allegory, portrait, and cosmic meditation. Key facts: 1817-1904 · British · Symbolism. In this family of images, painting becomes a language of signs: ancient myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In George Frederic Watts's hands, this ambition takes an immediately legible form: at times precious, at times dark, at times decorative, at times almost metaphysical. What makes his place essential in this ranking is the way he connects the end of the 19th century to the following avant-gardes. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
Read about George Frederic Watts on Wikipedia
#17Edward Burne-Jones
Edward Burne-Jones counts among the important landmarks of Symbolism, because his work does not merely seek to describe the visible world. His knights, princesses, and medieval myths turn the Pre-Raphaelite dream into a long, motionless ceremony. Key facts: 1833-1898 · British · Pre-Raphaelitism and Symbolism. In this family of images, painting becomes a language of signs: ancient myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Edward Burne-Jones's hands, this ambition takes an immediately legible form: at times precious, at times dark, at times decorative, at times almost metaphysical. What makes his place essential in this ranking is the way he connects the end of the 19th century to the following avant-gardes. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
See the Edward Burne-Jones collection
#18Dante Gabriel Rossetti
Dante Gabriel Rossetti is one of the important landmarks of symbolism, because his work does not seek merely to describe the visible world. He gives the female face a relic-like intensity, caught between poetry, desire, memory, and fatality. Key facts: 1828-1882 · British · Pre-Raphaelitism and symbolism. In this family of images, painting becomes a language of signs: antique myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as a threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Dante Gabriel Rossetti's work, this ambition takes an immediately legible form: sometimes precious, sometimes dark, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dreams, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the gestures, and the hidden correspondences.
View the Dante Gabriel Rossetti collection
#19John William Waterhouse
John William Waterhouse is one of the important landmarks of symbolism, because his work does not seek merely to describe the visible world. His mythological heroines, sorceresses, and dreamers capture the moment when beauty becomes an omen. Key facts: 1849-1917 · British · Pre-Raphaelitism and symbolism. In this family of images, painting becomes a language of signs: antique myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as a threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In John William Waterhouse's work, this ambition takes an immediately legible form: sometimes precious, sometimes dark, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dreams, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the gestures, and the hidden correspondences.
View the John William Waterhouse collection
#20Mikhail Vrubel
Mikhail Vrubel is one of the important landmarks of symbolism, because his work does not seek merely to describe the visible world. His Demon, his mosaics, and his mineral colors carry Russian symbolism toward an almost tragic tension. Key facts: 1856-1910 · Russian · symbolism. In this family of images, painting becomes a language of signs: antique myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as a threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Mikhail Vrubel's work, this ambition takes an immediately legible form: sometimes precious, sometimes dark, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dreams, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the gestures, and the hidden correspondences.
View the Mikhail Vrubel collection
Selection #21 to #30
Key figures, lineages, and works to know
This section gathers ranks 21 to 30. It allows you to explore the movement step by step, keeping together the artists who share the same family of forms, subjects, or influences.
#21Nicolas Roerich
Nicolas Roerich is one of the important landmarks of symbolism, because his work does not seek merely to describe the visible world. He links sacred landscapes, Slavic legends, and Himalayan visions in a painting of spiritual quest. Key facts: 1874-1947 · Russian · symbolism. In this family of images, painting becomes a language of signs: antique myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as a threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Nicolas Roerich's work, this ambition takes an immediately legible form: sometimes precious, sometimes dark, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dreams, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the gestures, and the hidden correspondences.
View the Nicolas Roerich collection
#22Viktor Vasnetsov
Viktor Vasnetsov stands among the important landmarks of symbolism, because his work does not merely seek to describe the visible world. He gives Russian tales, saints, and heroes a national, mythical, and almost epic scope. Key facts: 1848-1926 · Russian · symbolism. In this family of images, painting becomes a language of signs: ancient myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as a threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Viktor Vasnetsov's hands, this ambition takes an immediately readable form: at times precious, at times somber, at times decorative, at times almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
See the Viktor Vasnetsov collection
#23Mikalojus Konstantinas Čiurlionis
Mikalojus Konstantinas Čiurlionis stands among the important landmarks of symbolism, because his work does not merely seek to describe the visible world. A musician and painter, he transforms cosmic cycles into visions that are abstract before their time. Key facts: 1875-1911 · Lithuanian · symbolism. In this family of images, painting becomes a language of signs: ancient myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as a threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Mikalojus Konstantinas Čiurlionis's hands, this ambition takes an immediately readable form: at times precious, at times somber, at times decorative, at times almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
Read on Wikipedia: Mikalojus Konstantinas Čiurlionis
#24Jacek Malczewski
Jacek Malczewski stands among the important landmarks of symbolism, because his work does not merely seek to describe the visible world. He blends Polish history, self-portraiture, mythology, and fantastic figures into a painting of national conscience. Key facts: 1854-1929 · Polish · symbolism. In this family of images, painting becomes a language of signs: ancient myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as a threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Jacek Malczewski's hands, this ambition takes an immediately readable form: at times precious, at times somber, at times decorative, at times almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
See the Jacek Malczewski collection
#25Stanisław Wyspiański
Stanisław Wyspiański stands among the important landmarks of symbolism, because his work does not merely seek to describe the visible world. A painter, playwright, and designer, he unites portrait, stained glass, theatre, and Polish identity within a single vision. Key facts: 1869-1907 · Polish · symbolism. In this family of images, painting becomes a language of signs: ancient myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as a threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Stanisław Wyspiański's hands, this ambition takes an immediately readable form: at times precious, at times somber, at times decorative, at times almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
See the Stanisław Wyspiański collection
#26Józef Mehoffer
Józef Mehoffer stands among the important landmarks of symbolism, because his work does not merely seek to describe the visible world. His stained glass, portraits, and decorative compositions set graphic refinement in dialogue with a spiritual imagination. Key facts: 1869-1946 · Polish · symbolism. In this family of images, painting becomes a language of signs: antique myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, and memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Józef Mehoffer's hands, this ambition takes a form that is immediately legible: sometimes precious, sometimes somber, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he connects the late 19th century to the avant-gardes that followed. Symbolism paves the way for Art Nouveau through its taste for the line, for Surrealism through the power of the dream, and for Expressionism through psychological intensity. To read these works today, one must accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
View the Józef Mehoffer collection
#27Max Klinger
Max Klinger stands among the important landmarks of symbolism, because his work does not merely seek to describe the visible world. His engraved cycles and his visions of love, death, and destiny give black and white a philosophical power. Key facts: 1857-1920 · German · symbolism. In this family of images, painting becomes a language of signs: antique myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, and memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Max Klinger's hands, this ambition takes a form that is immediately legible: sometimes precious, sometimes somber, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he connects the late 19th century to the avant-gardes that followed. Symbolism paves the way for Art Nouveau through its taste for the line, for Surrealism through the power of the dream, and for Expressionism through psychological intensity. To read these works today, one must accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
Read about Max Klinger on Wikipedia
#28Ferdinand Hodler
Ferdinand Hodler stands among the important landmarks of symbolism, because his work does not merely seek to describe the visible world. His parallel figures, his mountains, and his human rites search for a visual law within the body and the landscape. Key facts: 1853-1918 · Swiss · symbolism. In this family of images, painting becomes a language of signs: antique myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, and memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Ferdinand Hodler's hands, this ambition takes a form that is immediately legible: sometimes precious, sometimes somber, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he connects the late 19th century to the avant-gardes that followed. Symbolism paves the way for Art Nouveau through its taste for the line, for Surrealism through the power of the dream, and for Expressionism through psychological intensity. To read these works today, one must accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
View the Ferdinand Hodler collection
#29Giovanni Segantini
Giovanni Segantini stands among the important landmarks of symbolism, because his work does not merely seek to describe the visible world. He elevates the mountain, motherhood, and divisionist light toward an Alpine spirituality. Key facts: 1858-1899 · Italian · symbolism. In this family of images, painting becomes a language of signs: antique myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, and memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Giovanni Segantini's hands, this ambition takes a form that is immediately legible: sometimes precious, sometimes somber, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he connects the late 19th century to the avant-gardes that followed. Symbolism paves the way for Art Nouveau through its taste for the line, for Surrealism through the power of the dream, and for Expressionism through psychological intensity. To read these works today, one must accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
View the Giovanni Segantini collection
#30Gaetano Previati
Gaetano Previati counts among the important landmarks of symbolism, because his work does not merely seek to describe the visible world. He sets the divisionist brushstroke vibrating around maternal, sacred, and visionary subjects. Key facts: 1852-1920 · Italian · symbolism. In this family of images, painting becomes a language of signs: ancient myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Gaetano Previati's work, this ambition takes a form that is immediately legible: sometimes precious, sometimes dark, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the following avant-gardes. Symbolism paves the way for Art Nouveau through its taste for line, for Surrealism through the power of dream, and for Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
Read on Wikipedia Gaetano Previati
Selection #31 to #40
Landmarks, lineages and works to know
This section brings together ranks 31 to 40. It allows the movement to be explored in stages, keeping together the artists who share the same family of forms, subjects, or influence.
#31Giulio Aristide Sartorio
Giulio Aristide Sartorio counts among the important landmarks of symbolism, because his work does not merely seek to describe the visible world. He blends grand decoration, ancient myth, and national dream in an ample and theatrical painting. Key facts: 1860-1932 · Italian · symbolism. In this family of images, painting becomes a language of signs: ancient myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Giulio Aristide Sartorio's work, this ambition takes a form that is immediately legible: sometimes precious, sometimes dark, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the following avant-gardes. Symbolism paves the way for Art Nouveau through its taste for line, for Surrealism through the power of dream, and for Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
Read on Wikipedia Giulio Aristide Sartorio
#32Galileo Chini
Galileo Chini counts among the important landmarks of symbolism, because his work does not merely seek to describe the visible world. His frescoes, decorations, and Orientalist visions connect symbolism, modern style, and monumental ambition. Key facts: 1873-1956 · Italian · symbolism and Art Nouveau. In this family of images, painting becomes a language of signs: ancient myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Galileo Chini's work, this ambition takes a form that is immediately legible: sometimes precious, sometimes dark, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the following avant-gardes. Symbolism paves the way for Art Nouveau through its taste for line, for Surrealism through the power of dream, and for Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
Read on Wikipedia Galileo Chini
#33Elihu Vedder
Elihu Vedder stands among the important landmarks of symbolism, because his work does not seek merely to describe the visible world. He gave fin-de-siècle America a strange voice, nourished by myth, the Orient, and obscure poetry. Landmarks: 1836-1923 · American · symbolism. In this family of images, painting becomes a language of signs: antique myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Elihu Vedder, this ambition takes an immediately readable form: sometimes precious, sometimes somber, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepared Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
Read on Wikipedia Elihu Vedder
#34Abbott Handerson Thayer
Abbott Handerson Thayer stands among the important landmarks of symbolism, because his work does not seek merely to describe the visible world. His angels, portraits, and ideal figures blend naturalistic observation with spiritual aspiration. Landmarks: 1849-1921 · American · symbolism. In this family of images, painting becomes a language of signs: antique myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Abbott Handerson Thayer, this ambition takes an immediately readable form: sometimes precious, sometimes somber, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepared Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
See the Abbott Handerson Thayer collection
#35Albert Pinkham Ryder
Albert Pinkham Ryder stands among the important landmarks of symbolism, because his work does not seek merely to describe the visible world. His dark seascapes, moons, and biblical silhouettes look like dreams painted in the night. Landmarks: 1847-1917 · American · symbolism. In this family of images, painting becomes a language of signs: antique myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Albert Pinkham Ryder, this ambition takes an immediately readable form: sometimes precious, sometimes somber, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepared Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
Read on Wikipedia Albert Pinkham Ryder
#36Simeon Solomon
Simeon Solomon stands among the important landmarks of symbolism, because his work does not seek merely to describe the visible world. His intense, biblical, and androgynous art gives Pre-Raphaelite visions a marginal and troubling dimension. Landmarks: 1840-1905 · British · symbolism. In this family of images, painting becomes a language of signs: antique myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Simeon Solomon, this ambition takes an immediately readable form: sometimes precious, sometimes somber, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepared Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
Read on Wikipedia Simeon Solomon
#37Evelyn De Morgan
Evelyn De Morgan stands among the important landmarks of Symbolism, because her work does not merely seek to describe the visible world. She paints the soul, the light, death and liberation with a singular spiritual clarity. Landmarks: 1855-1919 · British · Symbolism. In this family of images, painting becomes a language of signs: antique myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Evelyn De Morgan's hands, this ambition takes an immediately legible form: at times precious, at times dark, at times decorative, at times almost metaphysical. What makes her place essential in this ranking is the way it connects the late nineteenth century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
Read on Wikipedia Evelyn De Morgan
#38Marianne Stokes
Marianne Stokes stands among the important landmarks of Symbolism, because her work does not merely seek to describe the visible world. Her religious figures, legends, and collected scenes give Symbolism a grave tenderness. Landmarks: 1855-1927 · Austrian then British · Symbolism. In this family of images, painting becomes a language of signs: antique myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Marianne Stokes's hands, this ambition takes an immediately legible form: at times precious, at times dark, at times decorative, at times almost metaphysical. What makes her place essential in this ranking is the way it connects the late nineteenth century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
Read on Wikipedia Marianne Stokes
#39Lucien Lévy-Dhurmer
Lucien Lévy-Dhurmer stands among the important landmarks of Symbolism, because his work does not merely seek to describe the visible world. A subtle pastellist, he wraps his portraits and landscapes in a musical, almost hypnotic atmosphere. Landmarks: 1865-1953 · French · Symbolism. In this family of images, painting becomes a language of signs: antique myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Lucien Lévy-Dhurmer's hands, this ambition takes an immediately legible form: at times precious, at times dark, at times decorative, at times almost metaphysical. What makes his place essential in this ranking is the way it connects the late nineteenth century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
Read on Wikipedia Lucien Lévy-Dhurmer
#40Alexandre Séon
Alexandre Séon stands among the important landmarks of Symbolism, because his work does not merely seek to describe the visible world. Close to Péladan, he paints ideal figures, marine visions, and allegories of great linear purity. Landmarks: 1855-1917 · French · Symbolism. In this family of images, painting becomes a language of signs: antique myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Alexandre Séon's hands, this ambition takes an immediately legible form: at times precious, at times dark, at times decorative, at times almost metaphysical. What makes his place essential in this ranking is the way it connects the late nineteenth century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
Read on Wikipedia Alexandre Séon
Selection #41 to #50
Landmarks, lineages and works to know
This section brings together ranks 41 to 50. It lets you move through the movement step by step, keeping together the artists who share a common family of forms, subjects, or influences.
#41Armand Point
Armand Point ranks among the important landmarks of symbolism, because his work does not merely aim to describe the visible world. He seeks an archaic and refined path, between a dreamed-of Renaissance, an ideal studio, and decorative mysticism. Key facts: 1861-1932 · French · symbolism. In this family of images, painting becomes a language of signs: antique myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as a threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Armand Point's hands, this ambition takes an immediately legible form: at times precious, at times somber, at times decorative, at times almost metaphysical. What makes his place essential in this ranking is the way he links the late 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, surrealism through the power of dreams, and expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask you to look at the details, the silences, the attitudes, and the hidden correspondences.
Read about Armand Point on Wikipedia
#42Henri Martin
Henri Martin ranks among the important landmarks of symbolism, because his work does not merely aim to describe the visible world. Before becoming primarily a luminous decorator, he gave the figure and the landscape a symbolist vibration. Key facts: 1860-1943 · French · symbolism. In this family of images, painting becomes a language of signs: antique myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as a threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Henri Martin's hands, this ambition takes an immediately legible form: at times precious, at times somber, at times decorative, at times almost metaphysical. What makes his place essential in this ranking is the way he links the late 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, surrealism through the power of dreams, and expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask you to look at the details, the silences, the attitudes, and the hidden correspondences.
Read about Henri Martin on Wikipedia
#43Charles Filiger
Charles Filiger ranks among the important landmarks of symbolism, because his work does not merely aim to describe the visible world. His cloisonné forms, his saints, and his Breton figures reduce the image to a modern icon. Key facts: 1863-1928 · French · symbolism. In this family of images, painting becomes a language of signs: antique myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as a threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Charles Filiger's hands, this ambition takes an immediately legible form: at times precious, at times somber, at times decorative, at times almost metaphysical. What makes his place essential in this ranking is the way he links the late 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, surrealism through the power of dreams, and expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask you to look at the details, the silences, the attitudes, and the hidden correspondences.
Read about Charles Filiger on Wikipedia
#44Paul Sérusier
Paul Sérusier ranks among the important landmarks of symbolism, because his work does not merely aim to describe the visible world. With Le Talisman, he transforms landscape, color, and spirituality into a manifesto for the Nabis. Key facts: 1864-1927 · French · symbolism and Nabi. In this family of images, painting becomes a language of signs: antique myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as a threshold. It opens onto an idea, a disquiet, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Paul Sérusier's hands, this ambition takes an immediately legible form: at times precious, at times somber, at times decorative, at times almost metaphysical. What makes his place essential in this ranking is the way he links the late 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, surrealism through the power of dreams, and expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask you to look at the details, the silences, the attitudes, and the hidden correspondences.
View the Paul Sérusier collection
#45Maurice Denis
Maurice Denis is one of the important landmarks of symbolism, because his work seeks not merely to describe the visible world. He reminds us that a painting is first and foremost an organized surface, while retaining an intimate and religious fervor. Key facts: 1870-1943 · French · symbolism and Nabi. In this family of images, painting becomes a language of signs: ancient myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, an unease, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Maurice Denis's hands, this ambition takes an immediately legible form: sometimes precious, sometimes somber, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, surrealism through the power of dreams, and expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
View the Maurice Denis collection
#46Ker-Xavier Roussel
Ker-Xavier Roussel is one of the important landmarks of symbolism, because his work seeks not merely to describe the visible world. He populates gardens, nymphs, and mythological scenes with a decorative sweetness drawn from the Nabi world. Key facts: 1867-1944 · French · symbolism and Nabi. In this family of images, painting becomes a language of signs: ancient myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, an unease, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Ker-Xavier Roussel's hands, this ambition takes an immediately legible form: sometimes precious, sometimes somber, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, surrealism through the power of dreams, and expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
View the Ker-Xavier Roussel collection
#47Émile Bernard
Émile Bernard is one of the important landmarks of symbolism, because his work seeks not merely to describe the visible world. He links Cloisonnism, Brittany, spirituality, and a simplification of forms within a highly constructed symbolism. Key facts: 1868-1941 · French · symbolism. In this family of images, painting becomes a language of signs: ancient myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, an unease, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Émile Bernard's hands, this ambition takes an immediately legible form: sometimes precious, sometimes somber, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, surrealism through the power of dreams, and expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
View the Émile Bernard collection
#48Paul Gauguin
Paul Gauguin is one of the important landmarks of symbolism, because his work seeks not merely to describe the visible world. He searches for a primitive, mental elsewhere, transforming color into a spiritual and mythological language. Key facts: 1848-1903 · French · symbolism. In this family of images, painting becomes a language of signs: ancient myths, female figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, an unease, an inner music, or a spiritual truth that ordinary realism can no longer carry. In Paul Gauguin's hands, this ambition takes an immediately legible form: sometimes precious, sometimes somber, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, surrealism through the power of dreams, and expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they ask us to look at the details, the silences, the attitudes, and the hidden correspondences.
See the Paul Gauguin collection
#49James Ensor
James Ensor counts among the important landmarks of symbolism, because his work seeks not merely to describe the visible world. Masks, skeletons, and a grinding carnival give his symbolism a brutal, visionary irony. Landmarks: 1860-1949 · Belgian · symbolism. In this family of images, painting becomes a language of signs: ancient myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, an unease, an inner music, or a spiritual truth that ordinary realism can no longer carry. In James Ensor's hands, this ambition takes an immediately readable form: sometimes precious, sometimes somber, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they demand that we look at the details, the silences, the attitudes, and the hidden correspondences.
See the James Ensor collection
#50William Degouve de Nuncques
William Degouve de Nuncques counts among the important landmarks of symbolism, because his work seeks not merely to describe the visible world. His nocturnal houses, silent gardens, and floating landscapes seem held just short of the dream. Landmarks: 1867-1935 · Belgian · symbolism. In this family of images, painting becomes a language of signs: ancient myths, feminine figures, religious visions, nocturnal landscapes, angels, sphinxes, masks, or memories of a lost age. The subject matters less as anecdote than as threshold. It opens onto an idea, an unease, an inner music, or a spiritual truth that ordinary realism can no longer carry. In William Degouve de Nuncques's hands, this ambition takes an immediately readable form: sometimes precious, sometimes somber, sometimes decorative, sometimes almost metaphysical. What makes his place essential in this ranking is the way he links the end of the 19th century to the avant-gardes that followed. Symbolism prepares Art Nouveau through its taste for line, Surrealism through the power of dream, and Expressionism through psychological intensity. To read these works today, one must therefore accept their slowness: they demand that we look at the details, the silences, the attitudes, and the hidden correspondences.
Read on Wikipedia William Degouve de Nuncques
To continue the visit
Sources, collections, and paths truly related to the subject
A few useful references to verify the information, compare free images, and extend the reading without ending up in a museum that never asked for the visit.
Painters to (re)discover in this top symbolists
Useful blog hubs
Useful sources on this topic
Continue the visit in pictures
A major movement is best understood when you can compare the works, formats, and colors. Alpha Reproduction prints let you extend this visit at home, with special attention paid to details, contrasts, and the original formats.
0 comments