By Maria Teresa Benedetti
Symbolism was once a overdue nineteenth-century artwork flow of French, Russian and Belgian beginning in poetry and different arts. In literature, the fashion had its beginnings with the e-book Les Fleurs du mal (The flora of Evil, 1857) by way of Charles Baudelaire. The works of Edgar Allan Poe, which Baudelaire trendy drastically and translated into French, have been an important impact and the resource of many inventory tropes and pictures. the cultured was once constructed by way of Stéphane Mallarmé and Paul Verlaine through the 1860s and '70s. within the Eighteen Eighties, the classy was once articulated by way of a chain of manifestos and attracted a iteration of writers. The identify "symbolist" itself used to be first utilized via the critic Jean Moréas, who invented the time period to differentiate the symbolists from the comparable decadents of literature and of artwork.
Sommario:
CARATTERI GENERALI
FRANCIA
I seguaci del mago
BELGIO
Il messaggero dell'angoscia
INGHILTERRA
GERMANIA,AUSTRIA,SVIZZERA
ITALIA
Quadro cronologico
Bibliografia
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Extra resources for Simbolismo (Art dossier Giunti)
Sample text
All of your gear should be in a state of readiness so you can concentrate on painting. Choose your brushes as you would choose weapons before battle. Make certain they are clean and the bristles well-shaped. Have your palette set up beforehand with plenty of fresh paint. Make sure your turpentine, mineral spirits (or water · if you are a watercolorist), are clean and ample. Have plenty of rags or paper towels handy. See that your easel is sturdy, and if you are outdoors, well-anchored. When all systems are ready, relax, take a deep breath, and approach your canvas as you would your lover or a sumptuous meal.
I can do or undo anything, which is why I like oil paint. One of its many advantages is that mistakes need not be permanent. It has a built-in safety factor. Nothing is ever unfixable. The worst possible blunder can be undone. A careful swipe with my palette knife will erase my worst sins. I can go back and change my squeaky little lines into whatever I wish. I can also paint over them without misgivings-which makes the best sense since that is my intention in the first place. The sole purpose of any preliminary work I do (work that will likely be covered by ensuing paint), is to help me in the course of finishing by providing information about where things will go, how light or dark those things will be, and what their shapes and colors are.
That the EDGES of color shapes have appropriate softness or hardness. WHAT YOU SEE AND WHAT YOU KNOW Theoretically, Direct painting demands no special knowledge of a subj ect other than its visual characteristics. Carolus-Duran, Sargent's teacher, felt it was unnecessary to have any familiarity with a subject. According to him, a painter merely needed a trained eye. Sargent himself went even further, saying that artists should not show how much they know about their subject, and better still, should know nothing whatever about the nature of what they are painting.