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Intro
Glass Pavilion

Beyond the Visible. Romanticism and Symbolism in Switzerland

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At bromer kunst, we are delighted to present our new exhibition Beyond the Visible, – a carefully curated selection of works by Swiss artists from the 19th to the beginning of the 20th century, whose creations span between Romanticism and Symbolism.

 

The exhibition can be viewed by appointment only. Please contact our team at bromer kunst to make an appointment via: kunst@bromer.ch. 

 

Alexandre Calame - Torrent de montagne par orage, 1854

Ferdinand Hodler - Was die Blumen sagen, 1894

Clara Porges - Piz Maroz und Maroztal, Sicht von der Maloja-Gegend, ohne Jahr

Adolf Oechslin - Heimkehr von der Mahd, ohne Jahr

Giovanni Giacometti - Narziss, ca. 1920

Giovanni Giacometti - Pizzo Bacone, 1916

Johann Gottfried Steffan - Gosausee mit Dachstein, 1851
 

Johann Rudolf Weiss - Des Aviatikers letzter Augenblick, 1910
 

Waldemar Theophil Fink - Es werde Licht (Moosalp), 1908
 

About Exhibition
About Exhibition

While Romanticism in Switzerland describes an artistic movement, the term Symbolism is much harder to define. Symbolism can’t be described as a specific stylistic genre, but rather as an artistic attitude. Their representatives were not interested in depicting the visible, the rational and scientific, but rather referencing the invisible - or the spiritual. In their paintings, one encounters mysterious and fantastic dream worlds that are charged with symbolic meaning, oftentimes referencing basic human experiences such as death and eroticism. Romanticism and Symbolism share an interest in spirituality, natural philosophy and the understanding of unity, such as the Gesamtkunstwerk. They both attempt to refer beyond the visible in their artistic expressions.

With works by Alexandre Calame, Ferdinand Hodler, Giovanni Giacometti, Stéphanie Guerzoni, Hans Bachmann or Clara Porges, the exhibition focuses on Swiss artists between 1840 and 1925, whose creative spectrum lies between Romanticism and Symbolism. Their figurative paintings are charged with symbolic meaning, a strong sense of individuality, and the common strive to abandon strict mimesis in order to pursue the autonomy of the image as an independent carrier of meaning.

Artists