The Symbolist art movement of the late nineteenth century forms an important bridge between Impressionism and Modernism. But because Symbolism, more than the two movements it links, emphasizes ideas over objects and events, it has suffered from vague and conflicting definitions. In Symbolist Art in Context, Michelle Facos offers a clearly written, comprehensive, and accessible description of this challenging subject. Reaching back into Romanticism for Symbolism's origins, Facos argues that Symbolism enabled artists (including Munch and Gauguin) to confront an increasingly uncertain and complex world--one to which pessimists responded with themes of decadence and degeneration and optimists with idealism and reform.
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"The book contains a great deal of useful information and will prove a valuable textbook."--Burlington Magazine
"This book offers a straightforward definition of Symbolism as the starting point for investigating a complex and imprecisely understood art movement."--Nordicum-Mediterraneum
"This book offers a straightforward definition of Symbolism as the starting point for investigating a complex and imprecisely understood art movement."--Nordicum-Mediterraneum
About the Author
Michelle Facos is Associate Professor of Art History at Indiana University, Bloomington. She is the author of Nationalism and the Nordic Imagination: Swedish Painting in the 1890s (UC Press) and coedited (with Sharon Hirsch) Art and the National Identity at the Turn of the Century.
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5 of 6 people found the following review helpful:
5.0 out of 5 stars
Brilliant!,
This review is from: Symbolist Art in Context (Paperback)
Michelle Facos has once again created a lucid and richly-illustrated book enriching the understanding of late nineteenth-century European art and culture (See her groundbreaking book on Swedish painting of the 1890s). Without a doubt, her departure from the Franco-centric paradigm of art history is the book's biggest advantage - and of the most interest to myself. She includes artists from across the continent - incorporating artistic production from the European peripheries: most notably Scandinavia and Eastern Europe. Her narrative is full of fascinating facts as well as insightful examinations into myriad, and often well-known, works of art. Despite the wide range of imagery that is often lumped into the Symbolist canon, Facos does a fantastic job tying everything together. I only wish that the book could incorporate even more! Definitely recommended to anyone interested in nineteenth-century art history, fin-de-siecle culture, theories of modernity, etc.
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