It operates as a refuge for a civilizing element in short supply in contemporary America: honest criticism
On "Dreams of Nature: Symbolism from Van Gogh to Kandinsky” at the Van Gogh Museum, Amsterdam.
was right!Support The
Dreams of Nature” surveys the symbolist movement as expressed in landscape painting across Europe from Mallorca to western Russia, and is likely the first exhibition ever to do so. The exhibition, organized by Richard Thomson and Rodolphe Rapetti, contains seventy canvases, with some implausible choices among them depending on where one might draw the line regarding what qualifies as Symbolist.
That turns out to be a complicated consideration. Jean Moréas, writing his Symbolist Manifesto in 1886, described it thus: “Enemy of education, declamation, wrong feelings, objective description, symbolist poetry tries to dress the Idea in a sensitive form which, however, would not be its sole purpose, but furthermore that, while serving to express the Idea in itself, would remain subjective.” The subjectivity was key. Symbolism was above all a defiance of literary naturalism, but there was an equivalent in visu ...
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This article originally appeared in The New Criterion, Volume 30 June 2012, on page 51
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On "Johann Zoffany RA: Society Observed” at the Yale Center for British Art.
On "Elegant Enigmas: The Art of Edward Gorey" at the Boston Athenæum.
On "Morris Graves: Falcon of the Inner Eye, A Centennial Celebration” at the Michael Roesenfeld Gallery, New York.
by Karen Wilkin
On the refurbished Rijksmuseum, Amsterdam and "The Société Anonyme: Modernism for America" at the newly renovated Yale University Art Gallery, New Haven.
by Mario Naves
On "Albrecht Dürer: Master Drawings, Watercolors, and Prints from the Albertina” at the National Gallery of Art, Washington, D.C.
Andrew C. McCarthy talks Islam
Poet George Green reads from his award-winning Lord Byron's Foot
Celebration of the Life of Robert H. Bork, 1927–2012
by Eric Simpson
Jun 11, 2013 05:23 PM