s t y l e
Elements of the Following Painting Styles are Found within Moser's work.
SYMBOLIST PAINTING was a movement that began in the latter part of the nineteenth
century as a reaction to Realism and Impressionism. It was first
defined by the writer Jean Moréas (1856-1910) in the Symbolist
Symbolists were concerned with the importance of the dream state
(le rêve) and aimed to explore experiences beyond the mundane
world of practicality. Imagery based on the mystical, religious
and sometimes mythological, were recurrent themes characteristically
found in the work of the Symbolists.
Symbolism was above all, an aesthetic movement in which writers
and painters focused on the suggestive journey of the imagination.
The Symbolist dream was in essence a vision committed to fantasy
and images of emotional potency bearing the ethos, On ne
a que soi (One has but oneself.)
Symbolist painters included Gustave Moreau (1826-1898), Odilon
Redon (1840-1916), Edvard Munch (1863-1944), Maurice Denis (1870-
1943), Pierre Puvis de Chavannes (1824-1898), Fernand Khnopff
(1858-1921), Lucin Levy-Dhurmer (1865-1953) and Jean Delville
(1867-1953) among many others.
. . . . . .
CLASSICAL PAINTING, in itself not a defined style, but rather a category
of several different styles embodying a similar ideal. Classicism
places emphasis on older examples such as Greek and Roman antiquities
which strive to accentuate ideas of perfection.
Italian High Renaissance style of the sixteenth century sought
to express a revival and rebuilding of classical principles based
on logical and deliberate composition. The idealization of form
itself became a spiritualized exercise aimed at uplifting the
viewer towards a state of perfection and divinity.
Renaissance painters included Raphael (1483-1520), Leonardo Da
Vinci (1452-1519), Giovanni Bellini (1429-1507), Giorgione (1477-
1510) and Titian (1488-1576.)
Mannerist style, which came into prominence after the death of
Raphael in 1520, rejected the purely classical ideals of the early
Renaissance traditions and created its own maniera,
or style. Mannerism would then be more a style that is postclassical
with purposeful and stylistic distortions of the classical ideal.
Mannerist painters of importance were Pontormo
(1494-1556), Bronzino (1503-1572), Rosso Fiorentino (1494-1540)
and Benvenuto Cellini (1500-1571.)
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