The Aesthetic of the swirling lines constitutes a common element either in the development of Art at the turn of the Century as well as of the so-called Psychedelic Art during the ‘60s and ‘70s. Sinuous lines, symbolic elements and character attitudes, enigmatic and ambiguous expressions, are all elements that the artists of the ‘60s heavily inherited from their fin-de-siécle counterparts.

This artistic relationship sometimes happens just at stylistic level, when the psychedelic artists feel themselves free to be inspired in their works by most of the lines, patterns, shapes of the Art Nouveau poetic:

Sometimes, on the contrary, Art Nouveau or Symbolist Art masterpieces are literally brought into psychedelic style poster, overcharging colors accordingly:

The point here is that this psychedelic revisiting of Art Nouveau doesn’t look inappropriate, stylistically incompatible nor aesthetically inacceptable.

In other terms, Art Nouveau style fits perfectly into a psychedelic aesthetic and till the point the turn-of-the-century art can be considered as the very mainstream of inspiration for the psychedelic artists of the ‘60 and ‘70. This is mainly because some of the feelings and attitudes of the artists during these two periods are commonly shared.

Opening the perception to the mysterious forces hidden within the Nature, and let them come into the stream of the artist’s own feelings; discovering the expressive of the Line, of the draw, of colors, being able to mimic the Nature inner forces trough a passionate Art.

For either the Psychedelic travelers at the end of the 60s as well as for the Symbolist at the turn of the century Art constitutes the preferred way to unveil Isis or, at least, to make love with her …

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