Luis daniel andrea_maría_symbolism


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Luis daniel andrea_maría_symbolism

  2. 2. Directory A – María Navarro Partida: Find out what is the influence of the 19 the century art present in the artwork assigned. B – María Andrea Sánchez: Contexts: historical, social and cultural-artistic C – Luis Daniel Ayala: The artists and their work
  3. 3. A
  4. 4. A A Little Introduction The symbolism is an artistic movement that was born in XIX century in France and Belgium. This style of art tried to expressed the deep emotions of a person (generally an artist), rather than portray a representation of reality. One of the most famous artist in this movement is Edvart Munch (1863- 1944) who painted “The Scream”. Melancholy, 1891 1900 The Murderess, 1906 Golgotha,
  5. 5. Things to recognize in Symbolism A Generally, symbolist artworks expressed strong emotions, disturbing feelings or problems. This movement was born in a “bad time” for society (French and English revolutions) and was influenced in “technique” by the post-impresionism. Commonly used dissonant, complementary or “sad” colors to create anxiety (when using yellow , purple was added; when orange, then blue). Symbolist art is generally considered disturbing (because use of its “strong themes”). Some common topics are: fear, death, eroticism, anxiety, distress and loneliness. The Scream, 1893
  6. 6. Sebastian Cosor and his version of “The Scream” Now, we can go to the work of Sebastian Cosor. He is a Romanian artist that had the idea of expressing his vision about “The Scream” of Edvard Munch, inspired by some of the words what the painter said when he created his famous work. Edvard gave us a painting and Sebastian, a video in 3D. “Walking along a path with two friends - the sun set suddenly the sky turned red blood, I stopped and leaned on a fence dead tired - blood and tongues of fire lurking on the dark blue of the fjord and city ​- my friends continued and I was still trembling with anxiety, I sensed an infinite scream passing through nature.” Edvard Munch A
  7. 7. Historical context B The historical context that influenced the development of Symbolism was the Elightenment movement. The Enlightenment focused in what was happening inside the human mind: the profound thoughts, dreams, goals and imagination of the human being. Arthur Loureiro Study for 'The spirit of the new moon’ 1888 (detail) Queensland Art Gallery.
  8. 8. B Social Context Society was developing new and revolutonary thoughts that were more concentrated in what the individual human needs were. So events like Revolutions where happening in Latinoamrica because they people demanded wanted personal freedom, specially freedom of speech and thought. Horse-drawn tram, Hove, Brighton & Hove, late 19th century
  9. 9. B Cultural – Artistic context
  10. 10. B “Louisa May Alcott, known best as the author of Little Women, was a popular female author of the late 1800s. Long before her literary career, Alcott was an army nurse in the Civil War where she broke the ban on admitting single women. After the war and a trip to Europe, Alcott returned to America to find her family once again in debt. She resolved to change that with the publication of Little Women”. • (http:/ y/uncategorized/)
  11. 11. C Edvard Munch 1873 – 1944 (late 19th century, early 20th century) •Lost his mother and sister at early ages. Raised by his mentally ill father to fear death, hell and the external forces of the unknown. •During his first travel to Paris in 1885, he was influenced by the impressionist artists of the moment, which focused on inner perceptions, rather than objective portrayals of things. •His subjective portrayal of his inner anxieties were product of both his unhappy life and the difficulties of his curren times. His art not only reflected his own fears and torments, but also those that any human being could experience, specially in that time period. •During his adult life, he suffered from alcoholism and was heavily affected from a difficult romantic relationship, which led him to be comitted to a psychiatric hospital. He eventually rehabilitated. •During the later years of his life after his recovery, the pessimistic tones on his works were less prominent and they now showed Self-portrait, 1895
  12. 12. C “Anxiety”, 1894 The the black-clothed line of people are reminescent of a group leaving from (or marching to) a funeral, while their green-pale faces make them look as if they were the ones dead. Likewise, their expressions look death in the sense that they’re emotionless, but also penetrating, specially from the woman in the very front. Fear of death was one of Munch’s sources of anxieties and it is
  13. 13. C “Separation”, 1900 Here depected is a faceless (thus emotionless) and bright woman, leaving behind a dark and pale-faced man, who clutches his heart in pain. Heartbreak from love is a common source of pain and torment for any man and woman, and Munch himself had suffered from it after many difficult relationships (one of which became a partial reason for his mental breakdown), so those same emotions he had gone through can be seen here.
  14. 14. C “Worker and Child”, 1907 Perhaps an early hint of Munch’s slight overcome of his torments before his breakdown one year later, here we see a group of dark-clothed workers. The most prominent of them seen at the front, is seeing holding the hands of a little girl, who contrasts with her bright colors. It could be seen as a man’s rediscovery of the enjoyment of life, which Munch would do to some extent after rehabilitating from his psychiatric treatment.
  15. 15. C •The work of Munch is considered symbolic as it doesn’t seek to represent an external part of life, but rather a personal emotion, or a source of thereof, experienced internally. •Munich uses the reocorruing use of certain elements in order to symbolize certain his themes, mostly negative in nature. In “Worker and Child” and “Separation”, the dark clothing of the characters on the left, who evoke a negative feeling of sadness, frustration and pessimism, contrast against the bright figures on the right, both reflective of liveliness and perhaps optimism. •Aside from common symbolism, Munch also makes use of personal symbols. Notice how in “Anxiety” he reuses the same background mostly remembered from “The Scream”. The Oslo Bridge is seen as a personal motif of his, which express his sensation of feeling like a lost wanderer in a strange environment. This same
  16. 16. References Save The Lobsters!. (n.d.). Save The Lobsters. Retrieved January 28, 2014, from Ya está el listo que todo lo sabe. (n.d.). Ya está el listo que todo lo sabe. Retrieved January 28, 2014, from>. vintage everyday. (n.d.). : Headless Portraits From the 19th Century. Retrieved January 28, 2014, from Biografia de Edvard Munch. (n.d.). Biografia de Edvard Munch. Retrieved January 28, 2014, from BiografÃ-a de Edvard Munch - quién es, información, datos, historia, obras, vida. (n.d.). BiografÃ-a de Edvard Munch - quién es, información, datos, historia, obras, vida. Retrieved January 28, 2014, from Edvard Munch. (n.d.). - paintings, biography, and quotes of. Retrieved January 27, 2014, from Edvard Munch - The Dance of Life Site. (n.d.). Edvard Munch - The Dance of Life Site. Retrieved January 28, 2014, from APA formatting by