Word: symbolist
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...romantic vision may be the reason he finds such joy in other people. Haunting images recur throughout Presence of a man alone in a room with a landscape of thoughts, savoring the past actions of other people. In "House-Moving from Tournon to Bescancon," a nod to the French Symbolist poet Stephane Mallarme*. Williamson writes...
Williams was also a moral symbolist. His earthy characters journey over a landscape that pulses with the strife-torn dualities of human nature. The duel is between God and the Devil, love and death, the flesh and the spirit, innocence and corruption, light and darkness, the eternal Cain and the eternal Abel. In the American tradition, this links Williams to three 19th century moral symbolists: Hawthorne, Poe and Melville...
...history. An Italian, born in 1888 and raised partly in Greece-where his father, an engineer, planned and built railroads-he led a long, productive life, almost Picassian in length; he died in 1978. He had studied in Munich, and in his early 20s, under the spell of a symbolist painter named Arnold Böcklin, he began to produce a series of strange, oneiric cityscapes. When they were seen in Paris after 1911, they were ecstatically hailed by painters and poets from Picasso to Paul Eluard; before long De Chirico became one of the heroes of surrealism...
...idea that landscape photography should be intentionally expressive did not really surface until the frontier was gone, by the turn of the century. Its bearers were among the pioneers of photographic modernism-Edward Steichen, Clarence White and Alvin Langdon Coburn, with their "symbolist," tremulous images of tree and field. In these artful and decorous prints, as Szarkowski remarks, "Nature has become ... a part of the known habit and syntax of art, like fruit or flowers arranged on the sideboard." After them, the problem was to recomplicate the game of seeing; to show how the camera could deal with what...
There were other influences too: Daumier for the dense, impacted drawing, a touch of caricaturists like Théophile Steinlen for the faces, and symbolist poetry for the emblematic moodiness of some of the scenes. Some of the most powerful aspects of Hopper's work came from outside the history of painting itself: from theater, whose devices of staging and lighting Hopper constantly invoked. Hopper's rooms and landscapes have a constant air of expectancy. When empty, they seem to have been just vacated by actors; when they are peopled, the figures are posed and lit as though...