Symbolism

Symbolism initially developed as a French literary movement in the 1880s. Reacting against the rationalism and materialism that had come to dominate Western European culture, Moréas proclaimed the validity of pure subjectivity and the expression of an idea over a realistic description of the natural world. 

Though it began as a literary concept, Symbolism was soon identified with the artwork of a younger generation of painters who were similarly rejecting the conventions of Naturalism. Symbolist painters believed that art should reflect an emotion or idea rather than represent the natural world in the objective, quasi-scientific manner embodied by Realism and Impressionism. They felt that the symbolic value or meaning of a work of art stemmed from the recreation of emotional experiences in the viewer through color, line, and composition. In painting, Symbolism represents a synthesis of form and feeling, of reality and the artist's inner subjectivity.


Unlike the Impressionists, the Symbolists who emerged in the 1880s were a diverse group of artists often working independently with varying aesthetic goals. Rather than sharing a single artistic style, they were unified by a shared pessimism and weariness of the decadence they perceived in modern society. The Symbolists sought escape from reality, expressing their personal dreams and visions through color, form, and composition.

The Symbolists' rejection of naturalism and narrative in favor of the subjective representation of an idea or emotion would have a significant effect on the artwork of the twentieth century, particularly the formulation of German Expressionism and Abstraction.

Reference:

http://www.metmuseum.org/toah/hd/symb/hd_symb.htm