Renesansa u Škotskoj – razlika između verzija

Slikari simbolizma su istraživali [[mitologija]] i imaginarij snova kako bi izgradili vizualni jezik duše, u potrazi za evokativnim slikama koje prizivaju u svijest statički svijet tišine. Simboli u simbolističkim djelima nisu poznati znakovi uobičajene [[ikonografija|ikonografije]], već intenzivni osobni, mračni i dvosmisleni nagovještaji. Više filozofski nego umjetnički stil, simbolizam je utjecao na tada suvremeni pokret [[Art nouveau|art nouveaua]] i [[Nabis]]a. U svojem istraživanju motiva sličnim snovima, slikare simbolizma u biti nalazimo kroz čitave vjekove i kulture, a prisutni su i danas; Bernard Delvaille je opisao nadrealizam [[René Magritte|Renéa Magrittea]] kao "simbolizam plus [[Sigmund Freud|Freud]]".<ref>Delvaille, Bernard, ''La poésie symboliste: anthologie'', introduction. ISBN 2-221-50161-6</ref>

 

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The heritage of painters like [[Van Gogh]], [[Cézanne]], [[Gauguin]], and [[Seurat]] was essential for the development of modern art. At the beginning of the 20th century [[Henri Matisse]] and several other young artists including the pre-cubist [[Georges Braque]], [[André Derain]], [[Raoul Dufy]] and [[Maurice de Vlaminck]] revolutionized the Paris art world with "wild", multi-colored, expressive, landscapes and figure paintings that the critics called [[Fauvism]] (as seen in the gallery above). [[Henri Matisse]]'s second version of ''[[The Dance (painting)|The Dance]]'' signifies a key point in his career and in the development of modern painting.<ref>Russell T. Clement. ''Four French Symbolists''. [[Greenwood Press]], 1996. Page 114.</ref> It reflects Matisse's incipient fascination with [[primitive art]]: the intense warm colors against the cool blue-green background and the rhythmical succession of dancing nudes convey the feelings of emotional liberation and [[hedonism]]. [[Pablo Picasso]] made his first [[Cubism|cubist]] paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: [[cube]], [[sphere]] and [[cone (geometry)|cone]]. With the painting [[Les Demoiselles d'Avignon]] 1907, (see gallery) Picasso dramatically created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of [[African tribal masks]] and his own new [[Cubist]] inventions. [[Cubism]] (see gallery) was jointly developed by Pablo Picasso and [[Georges Braque]], exemplified by ''Violin and Candlestick, Paris,'' (seen above) from about 1908 through 1912. The first clear manifestation of Cubism was practised by Braque, Picasso, [[Jean Metzinger]], [[Albert Gleizes]], [[Fernand Léger]], [[Henri Le Fauconnier]], and [[Robert Delaunay]]. [[Juan Gris]], [[Marcel Duchamp]], [[Alexander Archipenko]], [[Joseph Csaky]] and others soon joined.<ref name="Christopher Green">{{cite web|url=http://www.moma.org/collection/details.php?theme_id=10068&displayall=1#skipToContent |title=Christopher Green, 2009, Cubism, MoMA, Grove Art Online, Oxford University Press |publisher=Moma.org |date= |accessdate=2014-08-08}}</ref> [[Synthetic cubism]], practiced by Braque and Picasso, is characterized by the introduction of different textures, surfaces, [[collage]] elements, [[papier collé]] and a large variety of merged subject matter.<ref name="Christopher Green" />

[[File:Rousseau-Hungry-Lion.jpg|thumb|upright|[[Henri Rousseau]], 1905, the reason for the term [[Fauvism]], and the original "Wild Beast"]]