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Добірка наукової літератури з теми "Symbolist painting"

Автор: Grafiati
Опубліковано: 3 червня 2022

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Статті в журналах з теми "Symbolist painting"

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Borozan, Igor. "Simbolistički opus Mihe Marinkovića i njegova recepcija u srpskoj sredini." Ars Adriatica 9 (February 28, 2020): 133–50. http://dx.doi.org/10.15291/ars.2928.

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The paper analyses the symbolist works in the under-researched opus of painter Miho Marinković. Trained at the Munich Academy of Fine Arts, he is primarily known as a painter of intricate themes that can be categorized as late 19th-century symbolism. In 1904, he settled in Belgrade and became an active participant in the cultural scene of the Serbian capital. In 1911, Marinković’s paintings were exhibited in the Pavilion of the Kingdom of Serbia at the International Exhibition in Rome. His symbolist oeuvre covers the standard themes of symbolist painting, such as Medusa, Lucifer, or The Sinner, which speaks both of the artist’s personality and of the eclectic turn of the century. Symbolism in Marinković’s work reflects his training in Munich, which in the late 19th and early 20th centuries was the European centre of somnambular themes and artistic experiments. In this paper, his oeuvre has been considered in the context of general symbolist structures, with particular references to the Munich symbolism. Some reviews of Marinković’s symbolist paintings have been pointed out, which testify to the history of the reception of his work in the Kingdom of Serbia in the early 20th century. The positive reception of Marinković’s paintings in the Serbian setting is evident from the fact that as many as thirty-five of his works have been included in the holdings of the National Museum in Belgrade.
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2

Ezerova, Daria V. "Shifting Peripheries: The Case of Russian Symbolism and the Pre-Raphaelite Brotherhood." Slavic Review 78, no. 2 (2019): 481–505. http://dx.doi.org/10.1017/slr.2019.98.

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The influence of the Pre-Raphaelite Brotherhood on Russian symbolism has not been adequately explored in the significant body of scholarship dedicated to it. To give but a few examples, Pre-Raphaelite motifs such as the enigmatic female figure, a jewel-toned palette, and elements drawn from a mythical European past widely appear in Russian symbolist poetry and painting. Drawing upon archival research, this article demonstrates that the symbolists did not simply borrow these motifs in passive imitation, but that they arose out of the symbolists' substantive engagement with modernity itself. Tracing the genealogy that links symbolism to the Pre-Raphaelite Brotherhood, the article develops a transactional model of influence that encourages us to think of the development of Russian modernism with greater nuance. By destabilizing the notion of the Russian symbolists' marginal position in relation to western Europe, this investigation provides a theoretical challenge to the notion of Russia's peripheral modernity.
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3

Stoia, Adrian. "Images of Chalices in Transylvanian Panel Paintings." Review of Ecumenical Studies Sibiu 6, no. 1 (December 1, 2014): 121–35. http://dx.doi.org/10.2478/ress-2014-0107.

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Abstract The study of the items illustrated on mural and panel painting, in connection with still existing items, can document medieval material culture. The representation of chalices on almost half of such paintings from Transylvania is a proof of its important symbolist value in religious rituals. These representations also certify the high level of the goldsmiths’ art from Transylvania. The present study is intended both as a repertory and an analysis of these sacral objects illustrated in mural and panel paintings.
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MOSENDZ, Oksana. "Symbolics of colour in the painting of Ukrainian symbolist artists of the early 20th century." Humanities science current issues 2, no. 36 (2021): 50–58. http://dx.doi.org/10.24919/2308-4863/36-2-8.

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5

Taroff, Kurt. "The Spectacle Within: Symbolist Painting and Minimalist Mise-en-Scène." Nineteenth Century Theatre and Film 42, no. 2 (November 2015): 211–27. http://dx.doi.org/10.1177/1748372716643336.

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6

Nikolić, Jovana. "Symbolism and imagination of the medieval period: The lady and the unicorn in the works of Gustave Moreau." Kultura, no. 168 (2020): 51–68. http://dx.doi.org/10.5937/kultura2068051n.

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Анотація:
The French Symbolist painter Gustave Moreau often used the motifs of fantastic beings and animals in his works, amongst which the unicorn found its place. Moreau got the inspiration for the unicorn motif after a visit to the Cluny Museum in Paris, in which six medieval tapestries with the name "The Lady and the Unicorn" were exhibited. Relying on the French Middle Age heritage, Moreau has interpreted the medieval legend of the hunt for this fantastic beast (with the aid of a virgin) in a new way, close to the art of Symbolism and the ideas of the cultural and intellectual climate of Paris at the end of the 19th century. In the Moreau's paintings "The Unicorn" and "The Unicorns", beautiful young nude girls are portrayed in the company of one or multiple unicorns. Similarly to the lady on the medieval tapestry, they too gently caress the animal, showing a close and sensual relationship between them. Although they were rid of their clothes, the artist donned lavish capes, crowns and jewellery on them, alluding to their privileged social status. Their beauty, nudity and closeness with the unicorns ties them to the theme of the femme fatal, which was often depicted in the Symbolist art forms. Showing the fairer sex as beings closer to the material, instinctual and irrational, Moreau has equated women and animals, as is the case with these paintings. Another important theme of the Symbolic art forms which can be seen on the aforementioned paintings is nature, wild and untouched. The landscape in the paintings shows a harmony between the unrestrained nature and the heroes of the painting, freed from strict moral laws of the civil society, or civilization in general. Putting the ladies and the unicorns in an ideal forest landscape, Moreau paints an intimate vision of an imaginary golden age, in this case the Middle Age, through a harmonic relationship of unicorns, women and nature. In that manner, Moreau's unicorns tell a fairy tale of a modern European man at the end of the 19th century: a fairy tale of harmony, sensuality and beauty, hidden in the realms of imagination and dreams.
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Kostetskaya, Anastasia. "Symbolism in Flux: The Conceptual Metaphor of "World Liquescence" Across Media, Genres and Realities." Slavic and East European Journal 59, no. 3 (2015): 413–30. http://dx.doi.org/10.30851/59.3.004.

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“Symbolism in Flux: the Metaphor of World Liquescence across Media, Genre and Realities” examines cultural implications of conceptual metaphor, in this case the metaphor of liquescence of the human emotional domain. The central question discussed in my paper is how poetics of water is metaphorically present in visual discourses of boundary transgression and blending, both static and dynamic, namely painting and film of the Russian Symbolist period. In my analysis of the painterly and cinematic texts selected, I apply concepts from cognitive linguistics, specifically Conceptual Metaphor Theory and Conceptual Blending Theory that see the roots of the human proclivity for metaphor in somatic embodied experiences. They provide tools and terms useful for theorizing discourses that implement the “water principle” as their modus operandi in approaching various metaphysical issues. They are particularly instrumental within the specific historical-cultural context of Russian Symbolism with its close attention to stirrings of the soul which in many cases are expressed via the “water metaphor.” I look at representations of the conceptual blend fusing human and water ontologies in these “Silver Age” texts: two paintings by V. Borisov-Musatov and two scenes from a film by E. Bauer. The innovative aspect of my work is found in my applying it to interacting art forms, which supports the central stance of Conceptual Metaphor Theory: that metaphor is not just a figure of language, but first and foremost, a figure of thought.
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Walden, Lauren. "Transmediality in Symbolist and Surrealist Photo-Literature." Open Cultural Studies 1, no. 1 (November 27, 2017): 214–31. http://dx.doi.org/10.1515/culture-2017-0020.

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Abstract The fin de siècle period throughout Europe undoubtedly cultivated the “interdisciplinary principle of la fraternité des arts” (Genova 158). Literature, poetry, visual art and music superseded former hierarchical structures favouring the painterly. Correspondence between intellectuals would cross-fertilise between disparate realms through publishing in interdisciplinary cultural journals that were distributed internationally across cosmopolitan cityscapes. The ability for the photograph to be mechanically reproduced, postulated by Walter Benjamin in 1936, allowed for one of the first transmedial aesthetics, to become known as photo-literature. Previously, reproduction had been confined to the textual realm. Bruges La Morte by Georges Rodenbach was the first ever work of photo-literature to commingle these respective art forms, sixty-five years after the invention of photography in 1827. Rodenbach’s novella was first published in 1892 at the height of the symbolist movement which spanned literature, painting, photography and more. Its pseudo-progeny, Andre Breton’s surrealist text Nadja was published in 1928 depicting the author’s meandering through the Parisian cityscape. In these works, text and image engender a sense of cosmopolitanism through the function of transposition.
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Davenport, Nancy. "Christ aux Outrages by Henry De Groux: Fin de Siècle Religion, Art Criticism, and the Sociology of the Crowd." Religion and the Arts 7, no. 3 (2003): 275–98. http://dx.doi.org/10.1163/156852903322694645.

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AbstractThe Belgian symbolist painter, Henry De Groux (1866-1930), produced in his life one masterwork, Christ aux Outrages (1888-1889), a vast painting (293-363 cm.) which both embodies his own tormented nature and that of many similarly unsettled fin de siècle Catholics in that age of Positivism, secularization, European sabre rattling, and anarchism. Following its success in the Salon Triennal in Brussels, Henry De Groux, financed by King Leopold II of the Belgians, brought his painting to Paris in 1890 where it was exhibited in the Salon des Arts Liberaux, after being rejected by the salon jury. The image of a timorous, bound, and defenseless Christ and a savagely screaming mob of women, dogs, and children repelled faint-hearted academically-minded critics concerned with religious art and moved the ardent and orthodox. While these writers of religious orientation had their own reasons for praise and blame, this research considers the connection between the painting and the dominant concern among socialists such as Gustave Le Bon in Le Psychologie des Foules (1895) and novelists such as Emile Zola in Germinal and other of his novel for "Crowd Theory." It is the fearful and irrepressible crowd attacking Christ, it is argued, that gave Christ aux Outrages its peculiar significance in fin de siècle Paris.
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Lloyd, Rosemary, Mallarme, and James Kearns. "Symbolist Landscapes: The Place of Painting in the Poetry and Criticism of Mallarme and His Circle." Modern Language Review 86, no. 3 (July 1991): 739. http://dx.doi.org/10.2307/3731087.

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Дисертації з теми "Symbolist painting"

1

Cole, Brendan. "The mythic feminine in symbolist art idealism in fin-de-siècle painting." Thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/23189.

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Grigorian, Natasha. "The use of myth in European Symbolism, with reference to selected examples of Symbolist poetry and painting in France, Germany and Russia." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.424886.

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Grew, Rachael. "The evolution of the alchemical androgyne in symbolist and surrealist art." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/1858/.

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Анотація:
The relationship between Symbolism and Surrealism is well known yet scarcely documented in detail. This thesis aims to address this oversight by exploring the connections between these two movements, specifically through investigating their shared motif of the androgyne. The androgyne embodies the professed aim of each of these groups: the transcendence of the physical in favour of the ephemeral for the Symbolists, and the unification of opposites for the Surrealists. Equally, both movements have an interest in the occult, and the androgyne is a key image within the occult tradition symbolising spiritual unity, dovetailing with the Symbolists’ and the Surrealists’ goals. The androgyne will be analysed firstly within the context of alchemy, surveying the way in which it is portrayed in primary sources, and how this has changed in Symbolist and Surrealist art. It will also be analysed in the contexts of psychoanalysis and gender identity, observing how male and female artists portray the androgyne differently and why. The aim of this thesis is therefore two-fold: firstly, a comparative study of the iconography employed by these connected movements, to original alchemical sources, and also between the male and female artists of these movements. Secondly, it aims to create a more secure basis for the notion of alchemical influence on Symbolism and Surrealism.
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4

Heyraud, Hélène. "Revoir le symbolisme pictural : le cas de Gustave Moreau : thème du féminin, style, réception critique." Thesis, Rennes 2, 2022. https://tel.archives-ouvertes.fr/tel-03685520.

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Le symbolisme est généralement considéré comme un mouvement littéraire, unifié par le thème du féminin. Or, la peinture occupe elle aussi une place importante dans la constitution du symbolisme et le thème du féminin ne saurait être l’entrée unique pour appréhender ce mouvement. Cette thèse se propose d’interroger les présupposés dominants sur ce mouvement : l’antériorité du symbolisme littéraire sur le symbolisme pictural, l’importance du thème du féminin dans la peinture, le manque voire l’absence des études stylistiques. Le corpus symboliste étant vaste, le peintre Gustave Moreau est érigé en archétype du symbolisme pictural et se pose comme le cas privilégié de cette étude. Les œuvres picturales replacées ici au centre des analyses thématiques, stylistiques et quantitatives, permettent de nuancer d’emblée cette supposée antériorité de la littérature, en montrant que les productions picturales précèdent historiquement d’une triple décennie les productions littéraires. À partir de ce corpus pictural singulier, le thème du féminin est ainsi réinterrogé : ce thème est-il si important dans la production de Gustave Moreau ? Les analyses quantitatives auxquelles est soumis le corpus permettent là encore de nuancer l’idée selon laquelle ce thème serait fondateur dans le symbolisme. Si le thème n’apparaît plus fondamental, la question du style s’impose alors. L’étude stylistique de l’œuvre de Gustave Moreau montre un peintre innovant et singulier, qui sera pourtant effacé – à l’instar des œuvres de manière générale – dans l’historiographie critique du mouvement. L’analyse de la réception critique et de l’historiographie du symbolisme montre ainsi comment les artistes, les œuvres et la stylistique ont été marginalisés au profit d’une pensée littéraire, poétique et philosophique du symbolisme
Symbolism is generally seen as a literary movement, unified by the theme of the feminine. However, painting occupies an important place in the symbolism construction and the theme of the feminine cannot be the only way to question this movement. This thesis proposes to question the dominant assumptions about this movement: the anteriority of literary symbolism over pictorial symbolism, the importance of the feminine theme in painting, the lack or even the absence of stylistic studies. The Symbolist corpus being vast, the painter Gustave Moreau is raised as an archetype of pictorial symbolism and is posed as the privileged case of this study. The thematic, stylistic, and quantitative studies of Gustave Moreau’s pictorial works allow to immediately qualify this supposed anteriority of literature, by showing that pictorial productions historically precede literary productions by three decades. From this singular corpus of paintings, the theme of the feminine is thus re-examined: is this theme dominant in Gustave Moreau's production? Once again, the idea according to which theme of the feminine founded Symbolism is challenged by the quantitative studies made on this corpus. If the theme of the feminine no longer appears fundamental, then the question of style arises. The stylistic study of Gustave Moreau’s work shows an innovative and singular painter, who will nevertheless be erased - like artworks in general - in the critical historiography of the movement. The analysis of the critical reception and historiography of Symbolism thus shows how artists, artworks and stylistics have been marginalized in favor of literary, poetic, and philosophical thought of Symbolism
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Varallo, Patrick Americo. "Abstract symbolic relationships /." Online version of thesis, 1993. http://hdl.handle.net/1850/11758.

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Reeder, Douglas Bell. "Symbolism and textual painting in four vocal works by George Crumb /." Connect to resource, 1997. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1184616880.

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Reeder, Douglas Bell. "Symbolism and textual painting in four vocal works by George Crumb /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487942739806089.

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Drew, Rodger. "Symbolism and sources in the painting and poetry of Dante Gabriel Rossetti." Thesis, University of Glasgow, 1996. http://theses.gla.ac.uk/3426/.

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The Thesis examines the symbolism, and the sources of that symbolism, in the poetry and painting of Dante Gabriel Rossetti. Chapter 1 considers the significance of the title of Rossetti's sonnet-sequence The House of Life. Chapter 2 looks at the opening sonnets of that sequence. Chapter 3 scrutinises the sonnet quartet of the Willow-wood sequence. Chapter 4 evaluates the influence of Platonism and Neoplatonism in Rossetti's art. Chapter 5 is concerned with Rossetti's use of allegory. Chapter 6 surveys the influence of Rosicrucianism on Rossetti and his immediate circle of the pre-Raphaelite Brotherhood, and on the Aesthetic School that succeeded it. This chapter closely examines the symbolic motifs of Rosicrucianism, and how these may be traced in the paintings of these artists. Chapter 7 explores the Rosicrucian influence in Rossetti's poetry. Chapter 8 further traces these influences in Rossetti's painting. Chapter 9 investigates the Goddess figure within Rossetti's later paintings.
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Gorrill, Helen. "Gendered economic and symbolic values in contemporary British painting." Thesis, Lancaster University, 2016. http://eprints.lancs.ac.uk/86852/.

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DiMarco, Christa Rose. "Painting in Paris: Vincent van Gogh, 1886-1888." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/350384.

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Анотація:
Art History
Ph.D.
In Painting in Paris: Vincent Van Gogh, 1886-1888, Christa DiMarco explores the two-year period Van Gogh lived and worked in Paris. The paintings the artist made in The Netherlands, where he lived prior to Paris, and those he produced in Arles, where he moved afterward, usually receive scholarly attention. The imagery from the artist’s time in the capital is generally marginalized. DiMarco considers how and why the artist used a brighter palette and energetic brushwork while painting in Paris. Considering that his artistic practice spanned only a decade from 1880 to 1890, the artist’s time in the capital represents a significant period of growth in terms of his engagement with the art market, his exposure to avant-garde imagery, and his understanding of Symbolist theory in the visual arts. Van Gogh accomplished significant goals in Paris, though some of his well-developed imagery does not necessarily figure into discussions regarding the canonical paintings of the artist’s body of work. Attention to the Paris-period not only locates Van Gogh’s pictorial development within the context of the Impressionists and Neo-Impressionists, but also establishes the ways in which the artist diverged from the artistic aims of the Parisian avant-garde, such as Claude Monet and Camille Pissarro, as he developed his Symbolic approach.
Temple University--Theses
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Книги з теми "Symbolist painting"

1

Symbolist landscapes: The place of painting in the poetry and criticism of Mallarmé and his circle. London: Modern Humanities Research Association, 1989.

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2

Symbolism. New York: Parkstone International, 2007.

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3

Symbolism in Korean ink brush painting. Kent: Global Oriental, 2006.

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4

Goldwater, Robert John. Symbolism. Boulder, Colo: Westview Press, 1998.

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5

The paintings of John Duncan: A Scottish symbolist. San Francisco: Pomegranate Artbooks, 1994.

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6

Painting the word: Christian pictures and their meanings. New Haven, Conn: Yale University Press, 1999.

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7

Yoon, Yeolsu. Folk painting. Seoul: Yekyong, 2002.

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8

Fernando, Coimbra, Dubal Léo 1940-, and International Union of Prehistoric and Protohistoric Sciences., eds. Symbolism in rock art. Oxford, England: Archaeopress, 2008.

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9

1588?-1629, Terbrugghen Hendrik, ed. The religious paintings of Hendrick ter Brugghen: Reinventing Christian painting after the Reformation in Utrecht. Farnham, Surrey, England: Ashgate, 2012.

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10

Lederle, Matthew. Christian painting in India through the centuries. Bombay: Heras Institute of Indian History and Culture, 1987.

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Частини книг з теми "Symbolist painting"

1

Robinson, Alan. "Symbolism, Impressionism and ‘Exteriority’." In Poetry, Painting and Ideas, 1885–1914, 15–57. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-07190-6_2.

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2

Cuxima-Zwa, Chikukwango. "Performativity of Body Painting: Symbolic Ritual as Diasporic Identity." In Narratives in Black British Dance, 131–66. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70314-5_10.

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Better, Alison. "Painting Desire Pink: Meaning-Making at a Romance Sex Store." In Selves, Symbols, and Sexualities: An Interactionist Anthology, 109–20. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: SAGE Publications, Ltd, 2015. http://dx.doi.org/10.4135/9781483399263.n8.

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Liu, Liming. "A Study on Symbolic Aesthetics of China’s Splashed Ink Freehand Landscape Painting." In Culture and Computing, 358–70. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-50267-6_27.

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Arthur, Catherine E. "Painting Peace and Prosperity: Street Art, the Geração Foun, and Identifying with an Evolving ‘East Timorese-ness’." In Political Symbols and National Identity in Timor-Leste, 203–37. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-98782-8_7.

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Betti, Marco. "Amori proibiti in palazzo Mondragone Carnesecchi. Un’inedita cupola di Antonio Puglieschi e una memoria medicea." In Studi e saggi, 147–64. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.09.

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The recent discovery of a dome painted by Antonio Puglieschi in the Mondragone Carnesecchi palace, representing Mars and Venus surprised by Vulcan, offers the occasion to reflect on the symbols used by Francesco I de’ Medici and Bianca Cappello. According to an ancient rumor, the clandestine love encounters between Francesco and Bianca had taken place in that very same palace and the depiction of the mythological infidelity may alluded to that relationship. The paper analyses different sources which show that Francesco was often portrayed as Mars and Bianca as Venus: specific attention is given to the detailed description of their wedding celebrations which revolved around the theme of the meeting and love of Venus and Mars. It’s possible that the Del Vernaccia family, who owned the palace and commissioned the painting to Antonio Puglieschi, wanted to remember and somehow celebrate events that took place in those rooms more than a century before.
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Gulácsi, Zsuzsanna. "Symbols of Liberation: The Salvation-seeking Souls, the Primary Prophets, and the Light Mind in Manichaean Didactic Painting." In Bibliothèque de l'Ecole des Hautes Etudes, Sciences Religieuses, 241–59. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.behe-eb.4.01122.

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"1. Poetry and Painting." In Wallace Stevens and the Symbolist Imagination, 1–24. Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400867233-004.

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Karg, Josephine. "The Role of Russian Symbolist Painting for Modernity: Mikhail Vrubel’s Reduced Forms." In The Symbolist Roots of Modern Art, 47–58. Routledge, 2017. http://dx.doi.org/10.4324/9781315085104-6.

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Grigorian, Natasha. "The Symbolist Context of the Siren Motif in Moreau’s Painting and Bryusov’s Poetry." In Text and Image in Modern European Culture, 32–47. Purdue University Press, 2012. http://dx.doi.org/10.2307/j.ctt6wq47q.6.

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Тези доповідей конференцій з теми "Symbolist painting"

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Makarevičs, Valerijs, and Dzintra Ilisko. "Figuratively Semantic Analysis of Works of Art." In 14th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2021. http://dx.doi.org/10.22616/reep.2021.14.044.

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Topicality of the study is related to the in-depth study of the art of works of Van Gogh, Velázquez and Repin by relating art to the biography of these authors. The aim of the study is to explore the symbolism and the biography of the painters using the examples of analysis from the works of Van Gogh, Velasquez, and Repin and also to determine the conditions that contribute to the awareness of the process of perception and understanding of paintings. The methodology of this study is figuratively symbolic method used with the purpose to compare the plots of the art and to relate them to the life experience of their creators. Results obtained and the most important conclusions: This is important for the author of a painting to convey his/her thoughts and feelings to the viewer. Still, there remains a problem. The author uses the language of the image and symbol, which the viewer needs to reveal. Psychology of art offers two main options for solving this problem. The essence of the first option which is the ability of the painter to direct the viewer's sight. It is called the Dutch approach. The second approach to the analyses of art is called the Italian approach. In this case this is important to understand the symbolism and knowledge gained historically by relating one’s art works to the biography of the painter. The authors of this article focus on the second approach by illustrating it with examples of analysis from the works of Van Gogh, Velázquez, and Repin. The results of this study might be of interest for those who are interested in arts and psychology.
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Mankovskaya, N. "POST-RECEPTIVE HERMENEUTICAL METHOD IN THE AESTHETICS OF FRENCH SYMBOLISM." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2540.978-5-317-06726-7/32-35.

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The report discusses the features of the post-receptive hermeneutical method in the philosophy of art of P. Claudel,representing the Catholic line in the aesthetics of French symbolism,and J. Péladan,critic of official Catholicism,interpreting art in the mystical and esoteric way. The author reveals the symbolic essence of Claudel's reflections on Dutch, Spanish and French painting and contemporary art. The author reveals the character of J. Péladan's interpretation of Dante's “Divine Comedy”,which he read as an esoteric,rather than a love story,mystical revelation.
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Lin, Weiran. "The Difference of the Symbolism between Chinese Painting and Western Painting." In 2nd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccessh-17.2017.128.

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Li, Fang. "Symbolic Recognition of Kramskoy's Figurative Painting Language." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.121.

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Sun, Hanying. "Creation and Interpretation: Study on the Symbolism of Traditional Chinese Painting." In The 5th International Conference on Art Studies: Research, Experience, Education (ICASSEE 2021). Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789048557240/icassee.2021.035.

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Xu, Cui, and Qiulin Qu. "Analysis of the role of symbolic language in oil painting creation." In 2016 2nd International Conference on Economics, Management Engineering and Education Technology (ICEMEET 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icemeet-16.2017.113.

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Wiyoso, Joko, and Casta Casta. "Glass Painting: Symbolic Power Relationship in Cultural Production and Adaptation Strategies on Cultural Involution." In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.17.

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Casta, Casta. "Glass Painting: Symbolic Power Relationship in Cultural Production and Adaptation Strategies on Cultural Involution." In Proceedings of the 2nd International Conference on Arts and Culture (ICONARC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iconarc-18.2019.71.

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Mocanu, Ada-Astrid, and Adrian Iftene. "How the Events in the Life of Painters Influence the Colors of their Paintings." In 2021 23rd International Symposium on Symbolic and Numeric Algorithms for Scientific Computing (SYNASC). IEEE, 2021. http://dx.doi.org/10.1109/synasc54541.2021.00028.

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Pariláková, Eva. "The mystical meaning of the table in contemporary art. Reinterpretation of the language of giving and receiving." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-23.

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The author interprets two forms of figurativeness of the mystical experience – the touch of man with the spiritual world, God, and the experience of amazement at being – by analysing the symbol of the table in contemporary art. The author first identifies the figurativeness of the fragmentary experience contrary to the mystical experience. Subsequently, she examines the mystical table in the icon of the Trinity by Andrei Rublev as a symbol of sacred hospitality and the eucharistic sacrifice. She also examines the icon’s philosophy as a meeting of the human and the transcendent world (Florensky, Trubeckoi, Evdokimov etc.). Finally, she explains the signs of the figurativeness of the mystical semantics of the table in three contemporary paintings (Jakabčic, Podhorský). These include, for example, Christian allusions, visual minimalism, white colour, contemplative immobility, mysterious to paradoxical imaginations, or the expressive-symbolic use of red and blue.
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