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Russian symbolism
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Russian symbolism was an intellectual, literary and artistic movement predominant at the end of the 19th and beginning of the 20th century. It arose separately from West European symbolism, and emphas
Alexandre Benois, Illustration to Alexander Pushkin's The Bronze Horseman, 1904. The Russian capital was often pictured by symbolists as a depressing, nightmarish city.
Alexandre Benois, Illustration to Alexander Pushkin's The Bronze Horseman, 1904. The Russian capital was often pictured by symbolists as a depressing,
Vsevolod Meyerhold in his production of Alexander Blok's Puppet Show (1906)
Vsevolod Meyerhold in his production of Alexander Blok's Puppet Show (1906)
Mikhail Nesterov's painting The Vision of the Youth Bartholomew (1890) is often considered to mark the inauguration of the Russian Symbolists.
Mikhail Nesterov's painting The Vision of the Youth Bartholomew (1890) is often considered to mark the inauguration of the Russian Symbolists.
Alexandre Benois designed symbolist sets for Stravinsky's Petrushka in 1911.
Alexandre Benois designed symbolist sets for Stravinsky's Petrushka in 1911.
Symbolism (movement)
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Symbolism was a late 19th-century art movement of French and Belgian origin in poetry and other arts seeking to represent absolute truths symbolically through language and metaphorical images, mainly
Russian symbolism
…was an intellectual, literary and artistic movement predominant at the end of the 19th and beginning of the 20th century. It arose separately from West European symbolism, and emphasized defamiliarization and the mysticism of Sophiology. The Russian symbolist movement was primarily influenced by Russian thinkers such as…
Death and the Grave Digger (La Mort et le Fossoyeur) (c. 1895) by Carlos Schwabe is a visual compendium of symbolist motifs. The angel of Death, prist
Death and the Grave Digger (La Mort et le Fossoyeur) (c. 1895) by Carlos Schwabe is a visual compendium of symbolist motifs. The angel of Death, pristine snow, and the dramatic poses of the characters all express symbolist longings for transfiguration "anywhere, out of the world".
The Corner of the Table by Henri Fantin-Latour (1872); left to right: Paul Verlaine, Arthur Rimbaud, Léon Valade, Ernest d'Hervilly, Camille Pelletan
The Corner of the Table by Henri Fantin-Latour (1872); left to right: Paul Verlaine, Arthur Rimbaud, Léon Valade, Ernest d'Hervilly, Camille Pelletan (seated); Pierre Elzéar, Emile Blémont, Jean Aicard (standing)
Portrait of Charles Baudelaire (c. 1862), whose writing was a precursor of the symbolist style
Portrait of Charles Baudelaire (c. 1862), whose writing was a precursor of the symbolist style
Eugen Bracht, The Shore of Oblivion, 1889
Eugen Bracht, The Shore of Oblivion, 1889