2. Symbolism was an artistic and literary movement during the 1890s which started in art with the followers of Gauguin.

3. The Symbolists:  Had no interest in expressing “mere facts”  Preferred to transform fact into a “symbol of the inner experience of that fact”  Sought to see “through” or far deeper than what was the superficial appearance of reality

4. Their work emphasized an inner, emotional world and inner vision over observation of nature. Their art was one of fantasy: a precursor of Surrealism. The idea of “art for art’s sake” was their doctrine and way of life. To them art should not have any use beyond this. Their work included psychological and mystical subjects, a fascination with evil and death and with the modern cult of decadence. The traditional approach to painting was “replaced by flat surfaces decoratively embellished with figures that were not modeled, and were often set in contrast to flat patterns.

5. Paul Sérusier (1864-1927) - Talizman

6. Nabis (or Les Nabis) - meaning “the prophets” - a group of young post-Impressionist avant-garde Parisian artists of the 1890s influenced fine arts and graphic arts in France at turn of the 20th century. rejected Impressionist technique, regarded as too sensory and concerned only with optical effects of fleeting moment in time, instead explored a simplified and even decorative painting style (influence of Japanese prints) in which lines, forms and planes of flat colour seen as having power to evoke emotional/spiritual response in viewer. believed that art should be the artist’s experience of life and nature as expressed in personal aesthetic metaphors and symbols. paved the way for the early 20th century development of abstract and non- representational art. The goal of integrating art and daily life, was a goal they had in common with most progressive artists of the time. Paul Sérusier brought them together, provided the name and made them aware of work of Paul Gauguin Pierre Bonnard, Edouard Vuillard and Maurice Denis became the best known of the group, but at the time they were somewhat peripheral to the core group. Their emphasis on design was shared by the parallel art nouveau movement. Both groups also had close ties to the Symbolists.

7. Maurice Denis. April, 1892. Oil on canvas. Kröller-Müller Museum, Otterlo, The Netherlands

8. Utagawa HIROSHIGE1797–1858 Ochanomizu 1853 Trustees of The British Museum, London The Nabis developed a decorative, simplified style, strongly influenced by their experience of Japanese prints, and characterized by delicate arabesque lines and decorative patterning. Utagawa HIROSHIGE1797–1858 Takibi shrine on the Oki Islands c.1853-6 Trustees of The British Museum, London Utagawa HIROSHIGE1797–1858 Yahagi Bridge on the Yahagi River near Okazaki 1855

9. Pierre Bonnard. The Terrace at Vernon, or Décor at Vernon, 1920/39. Oil on canvas. The Metropolitan Museum of Art

10. Pierre Bonnard, Female Nude in a Bathyub, c. 1937

11. Edouard Vuillard, La Lectrice Influenced by Japanese prints, Vuillard mixed and balanced disparate patterns, and played with the tension between the picture plane and the perspective view.

12. (1826-18 98) Oedipus and the Sphinx,1865

13. The Apparition 1876

14. 1844-1910

15. The Sleeping Gypsy 1897 (70 Kb); Oil on canvas, 129.5 x 200.7 cm (51" x 6'7"); The Museum of Modern Art, New York

16. The Dream 1910 (160 Kb); Oil on canvas, 6' 8 1/2" x 9' 9 1/2"; The Museum of Modern Art, New York

17. 1840-1916

18. Eye-Balloon 1878 (190 Kb); Charcoal, 42.2 x 33.2 cm; The Museum of Modern Art, New York

19. Vase of Flowers. (c. 1912-14). Pastel and pencil on colored paper, 28 3/4 x 21 1/8" (73.0 x 53.7 cm). William S. Paley Collection Ophelia c. 1900-1905 Pastel on paper mounted on board 50.5 x 67.3 cm (19 7/8 x 26 1/2 in.) The Woodner Collection

20. 1862-1918

21. Death and Life, 1916

22. The Kiss, 1907-8