Symbolism was largely a reaction against Naturalism and Realism, anti-idealistic movements which attempted to capture reality in its gritty particularity, and to elevate the humble and the ordinary over the ideal. These movements invited a reaction in favour of spirituality, the imagination, and dreams; the path to Symbolism begins with that reaction.[1] Some writers, such as Joris-Karl Huysmans, began as naturalists before moving in the direction of Symbolism; for Huysmans, this change reflected his awakening interest in religion and spirituality.
In literature, the movement has its roots in Les Fleurs du mal (The Flowers of Evil, 1857) by Charles Baudelaire. The aesthetic was developed by Stéphane Mallarmé and Paul Verlaine during the 1860s and '70s. In the 1880s, the esthetic was articulated through a series of manifestoes and attracted a generation of writers. The works of Edgar Allan Poe, which Baudelaire greatly admired and translated into French, were a significant influence and the source of many stock tropes and images.
Distinct from the movement in literature, Symbolism in art represents an outgrowth of the darker, gothic, side of Romanticism; but where Romanticism was impetuous and rebellious, Symbolist art was static and hieratic.
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