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Style: Symbolist
And in those dayes, when Moses was growen... - The Exodus
By Marc Chagall
Located in OPOLE, PL
This work will be exhibited at Art on Paper NYC, September 4–7, 2025.
–-
Marc Chagall (1887-1985) - And in those dayes, when Moses was growen, he went foorth unto his brethren, and...
Category
1960s Symbolist Art
Materials
Lithograph
Fantasy : Spider on the City - Original Oil on Canvas, Handsigned
Located in Paris, IDF
Bernard LOUEDIN
Fantasy : Spider on the City, 1970
Original Oil on Canvas
Handsigned and dated in the lower right corner
On canvas 54 x 81 cm (c 22 x ...
Category
Late 20th Century Symbolist Art
Materials
Canvas, Oil
"Prometheus’ Promise, " Oil on Canvas - Abstract Figurative Painting, Indian Art
Located in Houston, TX
This oil on canvas painting blends Greek and Hindu theology to discuss questions concerning justice and morality. In the Greek Mythos, Prometheus was a Titan of fire and forethought...
Category
2010s Symbolist Art
Materials
Canvas, Oil
Métiers des Hommes - Rare Book Illustrated by Kurt Seligmann - 1936
Located in Roma, IT
Métiers des Hommes is an Original Rare book written by Pierre Courthion (1902-1988) and illustrated by Kurt Seligmann (Basel, 1900 - Middletown, 1961) in 1936.
Original Edition.
Pu...
Category
1920s Symbolist Art
Materials
Paper, Photogravure
$620 Sale Price
20% Off
Fete Champetre - Symbolist Figurative Oil Painting by Ker Xavier Roussel
Located in Marlow, Buckinghamshire
Signed symbolist oil on panel circa 1910 by French Les Nabis painter Ker-Xavier Roussel. This beautiful painting depicts nudes and figures dressed in robes in a wooded landscape.
Signature:
Signed lower left
Dimensions:
Framed: 31"x40"
Unframed: 23"x32"
Provenance:
JPL Fine Arts - London c. 1985
Ker-Xavier Roussel met Édouard Vuillard at the Lycée Condorcet, which they both attended. Together they visited Eugène Ulysse Napoléon Maillard's studio, where Roussel became acquainted with Charles Cottet, going on to study at the Académie Julian under Bouguereau and Jules Lefebvre. There, he became interested in the Synthetism promoted by Sérusier, following Sérusier's heeding of the line Gauguin had adopted in Pont-Aven. He joined the Nabis group. He and his friends form a link between the Impressionists - he knew Cézanne, Degas, Renoir and Monet - and the Fauves and Cubists.
In his earliest paintings, Roussel adopted a dark palette for Realist still-lifes. Later, his work bore the influence of Gauguin, Sérusier, the Nabis and Cézanne, in Intimist scenes painted in flat tints not yet clearly delineated. Their dull, saturated tones are reminiscent of Cézanne. In about 1900 he started painting mythological scenes full of nymphs and fauns and set in his home region of Île-de-France. After a bicycle trip in Provence with Maurice Denis, during which he met Cézanne, he lightened his palette, much taken by the cloudless skies below which he would now set the mythological and idyllic compositions which link him to Poussin and Corot. This wondrous, unreal world found its way into large-scale works, including the stage curtain of the Champs-Élysées theatre in 1913, a large Pax Nutrix for the Palais des Nations in Geneva and Dance for the Palais de Chaillot in 1937. He is best remembered for: Silenius' Triumph, Polyphemus, Diana, The Abduction of the Daughters of Leucippus. The nymphs and fauns of a mythology quite his own appear in clearings and woods from the outskirts of Paris, but the sun they rejoice in is Mediterranean. To capture the vibration of bright colours under a permanent sun, he later turned to pastels. He was more a Symbolist than a Nabi and signed himself K.-X. Roussel. He also produced lithographs.
He took part in exhibitions from 1891 with the Groupe des Vingt at le Barc de Bouteville's gallery in Brussels. Then he exhibited in Revue Blanche Painters ( Les Peintres de la revue blanche) in Paris; with the Nabis at Café Volponi in Paris; before World War I with Free Aesthetics in Brussels; from 1901 at the Salon des Indépendants and the Salon d'Automne; in the 1930s in Revue Blanche Painters ( Les Peintres de la Revue blanche) hosted in Paris by designer Bolette Natanson, the daughter of the Revue Blanche's owner. He took part in The Masters of Contemporary Art ( Les Maîtres de l'art contemporain) at the Musée du Petit Palais in Paris, and at the 1938 Venice Biennale and 1939 New York World Fair. He featured posthumously in Toulouse-Lautrec and the Nabis ( Toulouse-Lautrec et les Nabis) at Bern Kunsthalle; From the Revue Blanche ( Autour de la revue blanche) in the Galerie Maeght, Paris, and in Tokyo and Brussels. He had one-man shows in Paris before his death in 1944. Retrospectives were mounted in the 1960s in London and Bremen.
Museum and Gallery Holdings:
Geneva (Petit Palais): Haystacks on the Seaside
Paris (BNF): Training the Dog; Landscapes (engraving); Nymph and Faun (c. 1895, etching)
Paris (Louvre): Poject for a Screen (drawing)
Paris (MNAM-CCI): The Road (c. 1905); The Cyclops (1908); Venus and Cupid on the Seafront (1908); The Abduction of Leucippus' Daughters (1911); Pastorale (1920); Diana at Rest (1923); Portrait of Vuillard (1934)
Paris (Mus. d'Orsay): The Gate (pastel); Woman in Profile with Green Hat; In Bed; Félix Valloton...
Category
Early 20th Century Symbolist Art
Materials
Oil, Panel
Abel Pann Israeli Bezalel School Lithograph Judaica Biblical Print Jewish Art
By Abel Pann
Located in Surfside, FL
Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...
Category
Mid-20th Century Symbolist Art
Materials
Lithograph
Brahms-Phantasie - Rare Portfolio of 41 Engravings by Max Klinger - 1894
By Max Klinger
Located in Roma, IT
Brahms-Phantasie is a wonderful in-folio volume: the Brahm's Phantasies musical score is incredibly illustrated with 37 numbered plates for a total of 41 original engravings (burin, ...
Category
1890s Symbolist Art
Materials
Paper, Engraving
"Night" Copper Plate Heliogravure
Located in Chicago, IL
2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme.
Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme.
Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come.
The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender.
The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication.
Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size.
Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works.
R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans Muhlestein appeared. Its author, a young scholar, expressed his frustration with the limited availability of printable work by Hodler. In his Author’s Note on page 19, dated Easter, 1914, Muhlestein confirms that the publisher of Hodler’s three works from that same year owned the exclusive reproductive rights to Hodler’s printed original work. He goes further to explain that even after offering to pay to use certain of those images in his book, the publisher refused. Clearly, a lot of jockeying for position in what was perceived as a hot market was occurring in 1914.
Instead, their timing couldn’t have been more ill-fated, and what began with such high hopes suddenly found a much different market amid a hostile climate. The onset of WWI directly impacted sales. Many, including Ferdinand Hodler, publicly protested the September invasion by Germany of France in which the Reims Cathedral, re-built in the 13th century, was shelled, destroying priceless stained glass and statuary and burning off the iron roof and badly damaging its wooden interior. Thomas Gaehtgens, Director of the Getty Research Institute describes how the bombing of Reims Cathedral triggered blindingly powerful and deeply-felt ultra-nationalistic responses: “The event profoundly shocked French intellectuals, who for the most part had an intense admiration for German literature, music and art. By relying on press accounts and abstracting from the visual propagandistic content, they were unable to interpret the siege of Reims without turning away from German culture in disgust. Similarly, the German intelligentsia and bourgeoisie were also shocked to find themselves described as vandals and barbarians. Ninety-three writers, scientists, university professors, and artists signed a protest, directed against the French insults, that defended the actions of the German army.”
In similar fashion, a flurry of open letters published in German newspapers and journals as well as telegrams and postcards sent directly to Hodler following his outcry in support of Reims reflected the collectively critical reaction to Hodler’s position. Loosli documents that among the list of telegrams Hodler received was one from none other than his publisher in Germany, R.Piper & Co. Allegiances were questioned. The market for Hodler in Germany immediately softened. Matters worsened for the publisher beyond the German backlash to Hodler and his loss of appeal in the home market; with the war in full swing until 1918, there was little chance a German publisher would have much interest coming from outside of Germany and Austria. Following the war and Hodler’s death in 1918, the economy in Germany continued to spiral out and just 5 years later, hyper-inflation had rendered its currency worthless vis-a-vis its value in the pre-war years. Like the economy, Hodler’s reputation was slow to find currency in these difficult times. Even many French art fans had turned sour on Hodler as they considered his long-standing relationship in German and Austrian art circles. Thus, the portfolio’s rarity in Hodler’s lifetime and, consequently, the availability of these printed images from DAS WERK FERDINAND HODLERS since his death has been scarce.
In many ways, Hodler and his portfolios were casualties of war. Thwarted from their intended purpose of reaching a wide audience and show-casing Parallelisme, Hodler’s unique approach to art, this important, undated work has been both elusive and shrouded in mystery. Perhaps DAS WERK FERDINAND HODLERS was left undated as a means of affirming the timelessness of Hodler’s art. Digging back into the past, Hodler’s contemporaries, like R. Piper, C.A. Loosli and Hans Muhlestein, indeed provide the keys to unequivocally clarify what has largely been mired in obscurity. Just after Hodler’s death, the May, 1918 issue of the Burlington Review ran a small column which opined hope for better access to R.Piper & Co.’s DAS WERK FERDINAND HODLERS; 100 years later, it is finally possible. Hodler’s voice rings out through these printed works. Once more, his modern approach to depicting portraits, landscapes and grand scale scenes of Swiss history speak to us of what is universal. Engaging with any one of these images is the chance to connect to Hodler’s vision and his world view- weltanschauung in German, vision du monde in French- however one expresses these concepts through language, its message embedded in his work is the same: “We differ from one another, but we are like each other even more. What unifies us is greater and more powerful than what divides us.” Today, Hodler’s art couldn’t be more timely.
FERDINAND HODLER (SWISS, 1853-1918) explored Parallelisme through figurative poses evocative of music, dance and ritual. His images of sex, night, desertion and death as well as his many landscapes exploring the universal longing for harmony with Nature are unique and important works embodying a Symbolist paradigm. Truly a Modern Master, Hodler’s influence can be felt in the work of Gustav Klimt and Kolomon Moser...
Category
1910s Symbolist Art
Materials
Paper
Pieta
Located in BLARICUM, NL
Spirituality and Christianity played an important role for Hamstra in, as he put it himself, 'the making' of his artworks. combined, he wanted to create a powerful, almost ghostly sa...
Category
1950s Symbolist Art
Materials
Wax Crayon
$29,847
Melancolic Seascape with Sailboats - Original Lithograph, 1898
Located in Paris, IDF
Francis JOURDAIN
Melancolic Seascape with Sailboats, 1898
Original lithograph (Champenois workshop)
Printed signature in the plate
On vellum, 40 x 31 cm (c. 16 x 12 in)
INFORMATION...
Category
1890s Symbolist Art
Materials
Lithograph
Young Girl Playing in the Woods - Original lithograph, 1898
Located in Paris, IDF
Eugene DELATRE
Young Girl Playing in the Woods, 1898
Original lithograph (Champenois workshop)
Printed signature in the plate
On vellum, 40 x 31 cm (c. 16 x 12 in)
INFORMATION: Lit...
Category
1890s Symbolist Art
Materials
Lithograph
Médecine Expérimentale - Etching by Félicien Rops - 1854
Located in Roma, IT
Médecine Expérimentale (Experimental medicine), is an original etching, soft ground, on Japanese paper realized by Félicien Rops in 1854, signed in the ...
Category
1870s Symbolist Art
Materials
Etching
Pursued Centaur (Verfolgter Centaur) - Etching by Max Klinger - 1881
By Max Klinger
Located in Roma, IT
Pursued Centaur (Verfolgter Centaur) belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Stroefer, 1881.
Etching on paper.
Signed in the...
Category
1880s Symbolist Art
Materials
Etching
Abel Pann Israeli Bezalel School Lithograph Judaica Biblical Print Jewish Art
By Abel Pann
Located in Surfside, FL
Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...
Category
Mid-20th Century Symbolist Art
Materials
Lithograph
"Harlequin and his dog", 20th Century oil on cardbard by Ismael de la Serna
Located in Madrid, ES
ISMAEL GONZÁLEZ DE LA SERNA
Spanish, 1898 - 1968
HARLEQUIN AND HIS DOG
Signed and dated I. de la Serna, 1955
Oil on cardboard
42 X 27-1/2 i...
Category
1950s Symbolist Art
Materials
Oil, Cardboard
"La Pacha Mama", Ochre Golden Yellow Beige Symboliste Original Oil Painting
By Andrée Bars
Located in Clermont-Ferrand, Auvergne-Rhône-Alpes
“La Pacha Mama” is an original oil painting on linen by Andrée Bars.
Bathed in warm ochre, golden yellow, and soft beige tones, set against a starless blue background, this intimate...
Category
2010s Symbolist Art
Materials
Oil
Le Sire De Lumey
Located in Middletown, NY
Brussels: J. Bouwens, 1867. Etching with aquatint and engraving on laid Japan paper, 9 3/4 x 6 1/2 inches (247 x 163 mm), full margins. Fifth state (of 5). Scattered moderate foxing....
Category
Late 19th Century Symbolist Art
Materials
Laid Paper, Engraving, Etching, Aquatint
Young Girl with an Orange - Original lithograph, 1898
Located in Paris, IDF
Louise BRESLAU
Young Girl with an Orange, 1898
Original lithograph (Champenois workshop)
Printed signature in the plate
On vellum, 40 x 31 cm (c. 16 x 12 in)
INFORMATION: Lithograp...
Category
1890s Symbolist Art
Materials
Lithograph
Menashe Kadishman, Sheep with a crown, Acrylic on canvas
Located in Tel Aviv, IL
Menashe Kadishman, Sheep head, Symbolist painting, colored painting, Israeli art, Israeli art
Category
1980s Symbolist Art
Materials
Acrylic
La Création de l'Homme, Bible.
By Marc Chagall
Located in OPOLE, PL
Marc Chagall (1887-1985) - La Création de l'Homme
Etching from 1952.
Edition of 40/100.
Signed ‘M. Ch.’ (as issued)
Enhanced with watercolour by the artist.
Dimensions of work: ...
Category
1950s Symbolist Art
Materials
Watercolor, Etching
Lady with an Umbrella, paper/etching, 50/50, 10x7.5 cm
Located in Riga, LV
Lady with an Umbrella, paper/etching,50/50, 10x7.5 cm
Category
1990s Symbolist Art
Materials
Paper, Etching
Art Déco Painting, ca. 1910, oil on cardboard. Romantic love scene in the forest
Located in Berlin, DE
Painting, around 1910, oil on cardboard. Romantic love scene in the forest.
Signed, Gaston Bussiere.
With beautiful (original) Art Deco frame.
Frame has minimal damage in places.
Dimensions with frame 67cm x 86cm
This painting is offered here for the first time exclusively on 1stdibs!
From private, German estate.
Gaston Bussière (April 24, 1862 in Cuisery – October 29, 1928 or 1929 in Saulieu) was a French Symbolist painter and illustrator.
Bussière studied at l'Académie des Beaux-Arts in Lyon before entering the école des beaux-arts de Paris where he studied under Alexandre Cabanel and Pierre Puvis de Chavannes. In 1884, he won the Marie Bashkirtseff...
Category
1910s Symbolist Art
Materials
Oil, Panel, Cardboard
$25,071 Sale Price
25% Off
Equus in Harmony, Horses oil painting, contemporary horse on canvas.
Located in La Canada Flintridge, CA
Widely recognized for his masterful depictions of horses, HRAIR brings an emotive and dynamic presence to his subjects through a signature technique that blends bold expressionism wi...
Category
2010s Symbolist Art
Materials
Oil
"Ibrahim Dawood, Why Did You Have To?, " Oil on Canvas, Figurative Painting
Located in Houston, TX
This oil on canvas painting is inspired by the Hindu Goddess Kaamdhenu, the mother of all cows and Bhatt’s recurring symbol of desire. The dismembered human figures featured in tan...
Category
2010s Symbolist Art
Materials
Canvas, Oil
"Desire, Motives, Assassins, " Oil on Canvas - Abstract Figurative Painting
Located in Houston, TX
This oil on canvas painting captures a playful approach to serious concerns. Viewing life as a circus act, Bhatt arranges figures that evoke emotions such as fear, aggression, and ...
Category
2010s Symbolist Art
Materials
Canvas, Oil
Huge French 1930's Signed Oil Classical Roman Fountain Statue Floral Scene 1933
Located in Cirencester, Gloucestershire
The Roman Statue
by Gabriel Jules-Charles Girodon (French, 1884–1941) *see notes below
signed and dated
oil painting on canvas, framed
framed: 38 x 47 inches
canvas: 36 x 44 inches...
Category
Early 20th Century Symbolist Art
Materials
Oil
Akinesia paper/etching, 14x18 cm, 1989
Located in Riga, LV
Akinesia
paper/etching, 14x18 cm, 1989
Category
1980s Symbolist Art
Materials
Etching, Paper
Simplicius at the Hermit's Grave - Etching by Max Klinger - 1881
By Max Klinger
Located in Roma, IT
Simplicius at the Hermit's Grave- Simplicius am Grabe des Einsiedlers (plate VIII) belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Str...
Category
1880s Symbolist Art
Materials
Etching
"Portrait of Sculptor James Vibert" Copper Plate Heliogravure
Located in Chicago, IL
2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme.
Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme.
Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come.
The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender.
The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication.
Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size.
Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works.
R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans Muhlestein appeared. Its author, a young scholar, expressed his frustration with the limited availability of printable work by Hodler. In his Author’s Note on page 19, dated Easter, 1914, Muhlestein confirms that the publisher of Hodler’s three works from that same year owned the exclusive reproductive rights to Hodler’s printed original work. He goes further to explain that even after offering to pay to use certain of those images in his book, the publisher refused. Clearly, a lot of jockeying for position in what was perceived as a hot market was occurring in 1914.
Instead, their timing couldn’t have been more ill-fated, and what began with such high hopes suddenly found a much different market amid a hostile climate. The onset of WWI directly impacted sales. Many, including Ferdinand Hodler, publicly protested the September invasion by Germany of France in which the Reims Cathedral, re-built in the 13th century, was shelled, destroying priceless stained glass and statuary and burning off the iron roof and badly damaging its wooden interior. Thomas Gaehtgens, Director of the Getty Research Institute describes how the bombing of Reims Cathedral triggered blindingly powerful and deeply-felt ultra-nationalistic responses: “The event profoundly shocked French intellectuals, who for the most part had an intense admiration for German literature, music and art. By relying on press accounts and abstracting from the visual propagandistic content, they were unable to interpret the siege of Reims without turning away from German culture in disgust. Similarly, the German intelligentsia and bourgeoisie were also shocked to find themselves described as vandals and barbarians. Ninety-three writers, scientists, university professors, and artists signed a protest, directed against the French insults, that defended the actions of the German army.”
In similar fashion, a flurry of open letters published in German newspapers and journals as well as telegrams and postcards sent directly to Hodler following his outcry in support of Reims reflected the collectively critical reaction to Hodler’s position. Loosli documents that among the list of telegrams Hodler received was one from none other than his publisher in Germany, R.Piper & Co. Allegiances were questioned. The market for Hodler in Germany immediately softened. Matters worsened for the publisher beyond the German backlash to Hodler and his loss of appeal in the home market; with the war in full swing until 1918, there was little chance a German publisher would have much interest coming from outside of Germany and Austria. Following the war and Hodler’s death in 1918, the economy in Germany continued to spiral out and just 5 years later, hyper-inflation had rendered its currency worthless vis-a-vis its value in the pre-war years. Like the economy, Hodler’s reputation was slow to find currency in these difficult times. Even many French art fans had turned sour on Hodler as they considered his long-standing relationship in German and Austrian art circles. Thus, the portfolio’s rarity in Hodler’s lifetime and, consequently, the availability of these printed images from DAS WERK FERDINAND HODLERS since his death has been scarce.
In many ways, Hodler and his portfolios were casualties of war. Thwarted from their intended purpose of reaching a wide audience and show-casing Parallelisme, Hodler’s unique approach to art, this important, undated work has been both elusive and shrouded in mystery. Perhaps DAS WERK FERDINAND HODLERS was left undated as a means of affirming the timelessness of Hodler’s art. Digging back into the past, Hodler’s contemporaries, like R. Piper, C.A. Loosli and Hans Muhlestein, indeed provide the keys to unequivocally clarify what has largely been mired in obscurity. Just after Hodler’s death, the May, 1918 issue of the Burlington Review ran a small column which opined hope for better access to R.Piper & Co.’s DAS WERK FERDINAND HODLERS; 100 years later, it is finally possible. Hodler’s voice rings out through these printed works. Once more, his modern approach to depicting portraits, landscapes and grand scale scenes of Swiss history speak to us of what is universal. Engaging with any one of these images is the chance to connect to Hodler’s vision and his world view- weltanschauung in German, vision du monde in French- however one expresses these concepts through language, its message embedded in his work is the same: “We differ from one another, but we are like each other even more. What unifies us is greater and more powerful than what divides us.” Today, Hodler’s art couldn’t be more timely.
FERDINAND HODLER (SWISS, 1853-1918) explored Parallelisme through figurative poses evocative of music, dance and ritual. His images of sex, night, desertion and death as well as his many landscapes exploring the universal longing for harmony with Nature are unique and important works embodying a Symbolist paradigm. Truly a Modern Master, Hodler’s influence can be felt in the work of Gustav Klimt and Kolomon Moser...
Category
1910s Symbolist Art
Materials
Paper
"What the Flowers Say" Copper Plate Heliogravure
Located in Chicago, IL
2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme.
Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme.
Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come.
The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender.
The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication.
Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size.
Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works.
R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans Muhlestein appeared. Its author, a young scholar, expressed his frustration with the limited availability of printable work by Hodler. In his Author’s Note on page 19, dated Easter, 1914, Muhlestein confirms that the publisher of Hodler’s three works from that same year owned the exclusive reproductive rights to Hodler’s printed original work. He goes further to explain that even after offering to pay to use certain of those images in his book, the publisher refused. Clearly, a lot of jockeying for position in what was perceived as a hot market was occurring in 1914.
Instead, their timing couldn’t have been more ill-fated, and what began with such high hopes suddenly found a much different market amid a hostile climate. The onset of WWI directly impacted sales. Many, including Ferdinand Hodler, publicly protested the September invasion by Germany of France in which the Reims Cathedral, re-built in the 13th century, was shelled, destroying priceless stained glass and statuary and burning off the iron roof and badly damaging its wooden interior. Thomas Gaehtgens, Director of the Getty Research Institute describes how the bombing of Reims Cathedral triggered blindingly powerful and deeply-felt ultra-nationalistic responses: “The event profoundly shocked French intellectuals, who for the most part had an intense admiration for German literature, music and art. By relying on press accounts and abstracting from the visual propagandistic content, they were unable to interpret the siege of Reims without turning away from German culture in disgust. Similarly, the German intelligentsia and bourgeoisie were also shocked to find themselves described as vandals and barbarians. Ninety-three writers, scientists, university professors, and artists signed a protest, directed against the French insults, that defended the actions of the German army.”
In similar fashion, a flurry of open letters published in German newspapers and journals as well as telegrams and postcards sent directly to Hodler following his outcry in support of Reims reflected the collectively critical reaction to Hodler’s position. Loosli documents that among the list of telegrams Hodler received was one from none other than his publisher in Germany, R.Piper & Co. Allegiances were questioned. The market for Hodler in Germany immediately softened. Matters worsened for the publisher beyond the German backlash to Hodler and his loss of appeal in the home market; with the war in full swing until 1918, there was little chance a German publisher would have much interest coming from outside of Germany and Austria. Following the war and Hodler’s death in 1918, the economy in Germany continued to spiral out and just 5 years later, hyper-inflation had rendered its currency worthless vis-a-vis its value in the pre-war years. Like the economy, Hodler’s reputation was slow to find currency in these difficult times. Even many French art fans had turned sour on Hodler as they considered his long-standing relationship in German and Austrian art circles. Thus, the portfolio’s rarity in Hodler’s lifetime and, consequently, the availability of these printed images from DAS WERK FERDINAND HODLERS since his death has been scarce.
In many ways, Hodler and his portfolios were casualties of war. Thwarted from their intended purpose of reaching a wide audience and show-casing Parallelisme, Hodler’s unique approach to art, this important, undated work has been both elusive and shrouded in mystery. Perhaps DAS WERK FERDINAND HODLERS was left undated as a means of affirming the timelessness of Hodler’s art. Digging back into the past, Hodler’s contemporaries, like R. Piper, C.A. Loosli and Hans Muhlestein, indeed provide the keys to unequivocally clarify what has largely been mired in obscurity. Just after Hodler’s death, the May, 1918 issue of the Burlington Review ran a small column which opined hope for better access to R.Piper & Co.’s DAS WERK FERDINAND HODLERS; 100 years later, it is finally possible. Hodler’s voice rings out through these printed works. Once more, his modern approach to depicting portraits, landscapes and grand scale scenes of Swiss history speak to us of what is universal. Engaging with any one of these images is the chance to connect to Hodler’s vision and his world view- weltanschauung in German, vision du monde in French- however one expresses these concepts through language, its message embedded in his work is the same: “We differ from one another, but we are like each other even more. What unifies us is greater and more powerful than what divides us.” Today, Hodler’s art couldn’t be more timely.
FERDINAND HODLER (SWISS, 1853-1918) explored Parallelisme through figurative poses evocative of music, dance and ritual. His images of sex, night, desertion and death as well as his many landscapes exploring the universal longing for harmony with Nature are unique and important works embodying a Symbolist paradigm. Truly a Modern Master, Hodler’s influence can be felt in the work of Gustav Klimt and Kolomon Moser and subsequent Expressionist artists such as Egon Schiele. He was born into an impoverished family in Bern, Switzerland in 1853. His entire family succumbed to tuberculosis, and he was orphaned by the age of 13, the only surviving child among his 13 siblings. In the absence of family, the influence and guidance which his art instructors provided Hodler was foundational and profound. Hodler began formal studies in 1872 at the Geneva School of Design. Under Barthelemy Menn, Hodler was drawn to the ordered beauty of Euclidian geometry and Durer’s fundamentals of human proportion that proved to be guiding principles informing his art throughout his life.
By the 1880s, Hodler began to enjoy some recognition for his work which put him on a new path towards stability. Remaining in Geneva, he became assistant to the well-known muralist, Edouard Castres. Following his first solo show in 1885, Hodler’s work took on a Symbolist quality. He frequently associated with a group of Swiss Symbolist...
Category
1910s Symbolist Art
Materials
Paper
Abel Pann Israeli Bezalel School Lithograph Judaica Biblical Print Jewish Art
By Abel Pann
Located in Surfside, FL
Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...
Category
Mid-20th Century Symbolist Art
Materials
Lithograph
Royalties
Located in Kansas City, MO
Stella Jae
Royalties
2023
Oil on Canvas
Size: 23.62 x 34.49 inches (60 x 80cm)
Signed by hand
COA provided
Ref.: 924802-2114
----------
Tags: #StellaJRich...
Category
2010s Symbolist Art
Materials
Canvas, Oil
Menashe Kadishman, Sheep head 35, Acrylic on canvas
Located in Tel Aviv, IL
Menashe Kadishman, Sheep head, Symbolist painting, colored painting, Israeli art, Israeli art
Category
1980s Symbolist Art
Materials
Acrylic
"War and Peace", Silent Requiem Broken Stone and Doves Original Oil Painting
By Andrée Bars
Located in Clermont-Ferrand, Auvergne-Rhône-Alpes
“War and Peace” is an original oil painting on linen by Andrée Bars.
In warm sandstone tones, ranging from ochre beige to dusty brown, this powerful composition stages a moment of t...
Category
2010s Symbolist Art
Materials
Oil
Die Tapferen Zehntausend - Original Rare Book Illustrated by Max Slevogt - 1923
Located in Roma, IT
Die tapferen Zehntausend is an original rare book written by Jacob and Wilhelm Grimm and illustrated by Max Slevogt (Landshut, 8 October 1868 – Leinsweiler...
Category
1920s Symbolist Art
Materials
Paper, Lithograph
ROGANEAU Early 20th century Symbolist painting French Wolves Acropolis Athens
Located in PARIS, FR
François Maurice ROGANEAU
Bordeaux, 1883 - Aix-en-Provence, 1973
Oil on canvas on cardboard
44 x 32 cm (55 x 44 cm with frame)
Signed lower left “FMR”
Mount Lycabettus opposite to t...
Category
Late 19th Century Symbolist Art
Materials
Oil
"The Graces Lie Shy" Intaglio Etching
Located in Soquel, CA
"The Graces Lie Shy" intaglio etching by Chaim Koppelman (American b.1920 d.2009).
Moody etching by prominent American printmaker and educator Chaim Koppelman. In this piece a nude...
Category
1950s Symbolist Art
Materials
Paper, Etching, Intaglio
Art Deco British symbolist painting 'Triune' by Robert Arthur Wilson
By Robert Arthur Wilson
Located in Petworth, West Sussex
This artwork is a captivating representation of The Trinity, created by the British artist Robert Arthur Wilson. It vividly demonstrates Wilson's profound engagement with avant-garde theories related to colour, music, and emotion, which had a significant impact on his artistic vision. Wilson's exploration of colour abstraction was groundbreaking and played a pivotal role in establishing him as one of the most promising artists of his time. His innovative approach to colour abstraction is evident not only in the portrayal of the sky but also in the overall composition of this piece.
Robert Arthur Wilson (British, 1884 – 1979)
Triune
Tempera on panel
Signed ‘R.A. Wilson’ (lower right) and titled on a label on the reverse
29.1/8 x 29.1/8 in. (69 x 69 in. )
Robert Arthur Wilson was a British painter. Wilson was born in Sunderland in 1884. Leaving school at the age of thirteen, he was employed for a time as a bookkeeper before beginning an apprenticeship under a local sign...
Category
20th Century Symbolist Art
Materials
Tempera, Panel
Abstract, Symbolic, Tenderly Green Horse, Celestial Equine.
Located in La Canada Flintridge, CA
"Celestial Equine" by Hrair Diarbekirian is a mesmerizing portrayal of a horse set against a backdrop of celestial wonders. The painting unfolds in a surreal landscape where vibrant ...
Category
2010s Symbolist Art
Materials
Oil
Kvinnehode
By Edvard Munch
Located in New York, NY
Drypoint printed in dark, brownish black on cream wove paper. Signed by the artist in pencil, lower right.
Category
Early 1900s Symbolist Art
Materials
Drypoint
Menashe Kadishman, Sheep head 37, Acrylic on canvas
Located in Tel Aviv, IL
Menashe Kadishman, Sheep head, Symbolist painting, colored painting, Israeli art, Israeli art
Category
1980s Symbolist Art
Materials
Acrylic
Abel Pann Israeli Bezalel School Lithograph Judaica Biblical Print Jewish Art
By Abel Pann
Located in Surfside, FL
Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...
Category
Mid-20th Century Symbolist Art
Materials
Lithograph
Suzanne Benton, Heavenly Kingdom, 2022, oil on Belle Art primed panel, Transcend
Located in Darien, CT
In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edwa...
Category
2010s Symbolist Art
Materials
Oil
Renaissance - Etching by J. von Diveki - 1920
Located in Roma, IT
Etching realized by Josef von Diveky in 1920.
Image dimension 19x13 cm.
Edition of 78/100.
Signed and dated in pencil lower right, titled in pencil lower left. Numbered in pencil ...
Category
1920s Symbolist Art
Materials
Etching
Architectural Details Catalogue 6, paper/etching, 57/75, 10x9 cm, 1990
Located in Riga, LV
Architectural Details Catalogue 6, paper/etching, 57/75,10x9 cm,1990
Category
1990s Symbolist Art
Materials
Paper, Etching
Seascape : As Light as a Feather - Original Oil on Canvas, Handsigned
Located in Paris, IDF
Bernard LOUEDIN
Seascape : As Light as a Feather, 1978
Original Oil on Canvas
Handsigned and dated in the lower left corner
On canvas 46 x 61 cm (c. 1...
Category
Late 20th Century Symbolist Art
Materials
Canvas, Oil
Architectural Details Catalogue 4, paper/etching, 81/99, 10x9 cm
Located in Riga, LV
Architectural Details Catalogue 4, paper/etching, 81/99,10x9 cm
Category
1980s Symbolist Art
Materials
Paper, Etching
Architectural Details Catalogue 2, paper/etching, 86/99, 10x9 cm, 1989
Located in Riga, LV
Architectural Details Catalogue 1, paper/etching, 80/99, 10x9 cm,1989
Category
1980s Symbolist Art
Materials
Paper, Etching
Portrait VI, VII, paper/etching, 9.8x9.8 cm, 1989
Located in Riga, LV
Portrait VI,VII, paper/etching, 9.8x9.8 cm,1989
Category
1980s Symbolist Art
Materials
Paper, Etching
Abel Pann Israeli Bezalel School Lithograph Judaica Biblical Print Jewish Art
By Abel Pann
Located in Surfside, FL
Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...
Category
Mid-20th Century Symbolist Art
Materials
Lithograph
Monument IX paper/etching, 90/99
Located in Riga, LV
Monument IX
paper/etching,90/99, 13.5x10 cm,1989
Category
1980s Symbolist Art
Materials
Paper, Etching
Jealousy paper/etching, 19.5x15 cm, 1986
Located in Riga, LV
Jealousy paper/etching, 19.5x15 cm, 1986
Category
1980s Symbolist Art
Materials
Paper, Mixed Media
Father and son oil on canvas painting surrealist
Located in Barcelona, Barcelona
Ramón Llovet (1917-1987) - Father and son - Oil on canvas
Canvas measures 50x61 cm.
Frame measures 56x67 cm.
Ramon Llovet Miserol (Barcelona, August 7, 1917 - Barcelona, August ...
Category
1960s Symbolist Art
Materials
Canvas, Oil
$573 Sale Price
46% Off
Black tear acrylic on canvas painting Ukraine
Located in Barcelona, Barcelona
Alicia Ramos (1962) - Black tear - Acrylic on canvas
60x50 cm.
Frameless.
This painting is a humble tribute to the people of Ukraine, a "black tear" for the horror of this senseless...
Category
2010s Symbolist Art
Materials
Canvas, Acrylic
$620 Sale Price
35% Off
Joan Colom i Agustí (1879 - 1964) - Óleo sobre tablero - Bañistas
Located in Sant Celoni, ES
Firmado en la parte inferior por el autor
Estado de conservación aceptable
Se presenta enmarcada la obra
Medidas de la obra: 50 x 65 cm.
Medidas del marco: 59 x 73 cm.
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Category
1940s Symbolist Art
Materials
Oil
Ardito (Portrait of a Man)
Located in Roma, RM
Vitaliano Marchini (Melegnano 1888 - 1971), Ardito (Portrait of a Man), 1919
Carrara marble sculpture 43 x 26 x 15 cm signed on the right on the base: V. MARCHINI
Exhibitions: Pala...
Category
Early 20th Century Symbolist Art
Materials
Marble
Elegant Woman holding White Roses Flowers , Portrait Champetre French Symbolist
Located in Miami, FL
Masterfully painted portrait with rich paint surface by the famous French Symbolist Signed and dated lower left Provenance: Waterhouse & Dodd, London ...
Category
1920s Symbolist Art
Materials
Oil, Wood Panel
$58,000 Sale Price
26% Off
8 of Spades
Located in New York, NY
During street fighting in Ramadi and Fallujah, Iraq, Richardson noted the impact of stray gunfire and its decaying effect on the city. One particular memory he has is of a plywood sign featuring the figure of a man hoisting a barbell over his head, an advertisement for a local gym. As months passed, the sign splintered to near oblivion, first the figure’s legs, then his head and arms, and finally, most of his torso disappeared as the fighting smoldered on. Nearly ten years later, Richardson began to develop his own bullet-ridden and splintered war motifs.
In wartime, cards are the time killer’s friend, a way to pass time between patrols, operations, and the work of war. In Iraq, U.S. troops were issued playing card decks featuring Iraqi officials wanted by the U.S. Government. In the Shotgun...
Category
2010s Symbolist Art
Materials
Metal
$12,000
Evening in the Mountains by Joseph André Mussler - 45x45 cm
Located in Geneva, CH
Joseph André Mussler (1904-1980) was a Swiss painter known for his works depicting natural landscapes, often focusing on scenes from the Alps, such as mountain valleys and alpine hut...
Category
Mid-20th Century Symbolist Art
Materials
Oil, Wood
Centaur In The Smithy - Original Woodcut by J.J. Weber - 1898
Located in Roma, IT
Image dimensions: 24.5 x 31.5 cm.
Centaur In The Smithy is an original print, realized in 1898.
Black and white xylograph on applied Japon paper.
Good conditions except for yellowing of paper (especially along the margins), and very light foxings on lower part of paper.
The print was realized by Johann Jacob Weber and it's part of the series Meisterwerke der Holzschneidekunst (original title: SECHZEHN HOLZSCHNITTE NACH GEMÄLDEN ARNOLD BÖCKLIN...
Category
1890s Symbolist Art
Materials
Woodcut
Symbolist art for sale on 1stDibs.
Find a wide variety of authentic Symbolist art available for sale on 1stDibs. Works in this style were very popular during the 21st Century and Contemporary, but contemporary artists have continued to produce works inspired by this movement. If you’re looking to add art created in this style to introduce contrast in an otherwise neutral space in your home, the works available on 1stDibs include elements of orange, blue, green, red and other colors. Many Pop art paintings were created by popular artists on 1stDibs, including Michel Fingesten, Abel Pann, Franz von Bayros (Choisi Le Conin), and Ferdinand Hodler & R. Piper & Co.. Frequently made by artists working with Paint, and Oil Paint and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large Symbolist art, so small editions measuring 1.58 inches across are also available. Prices for art made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $55 and tops out at $378,675, while the average work sells for $863.