The contribution of colour in the artistic representation of the sacred. International symbolism between the nineteenth and twentieth centuries/ L’apporto del colore nella rappresentazione artistica del sacro. Simbolismo Internazionale fra Otto e Novecento

After a long period of crisis and repetition of past schemes, at the end of the nineteenth century the sacred theme returns to be an innovative field of interest for the arts. The interpretation of colour in its hues, which take on a symbolic value, is a basic aspect of the renewal brought by artists such as Franz Von Stuck, Max Klinger, Egon Schiele in the Austro-German environment, or Gauguin and his school in France. Those who instead settle on influences from the masters of the Middle Ages and Renaissance especially in drawings, recovering traditional iconographic models, precisely through colour and renewed gradations of industrial colours bring about a modern development in painting and especially in wall decorations, from Maurice Denis, here recalled, to Gino Severini, as we will see in the second part of the essay to be published soonAfter a long period of crisis and repetition of past schemes, at the end of the nineteenth century the sacred theme returns to be an innovative field of interest for the arts. The interpretation of colour in its hues, which take on a symbolic value, is a basic aspect of the renewal brought by artists such as Franz Von Stuck, Max Klinger, Egon Schiele in the Austro-German environment, or Gauguin and his school in France. Those who instead settle on influences from the masters of the Middle Ages and Renaissance especially in drawings, recovering traditional iconographic models, precisely through colour and renewed gradations of industrial colours bring about a modern development in painting and especially in wall decorations, from Maurice Denis, here recalled, to Gino Severini, as we will see in the second part of the essay to be published soo