rier, a seminal theorist of Symbolism and Synthetism, the new art was Ideist, in that it was "the expression of an Idea," and Symbolist, in that "it will express this idea by means of forms" (quoted in Chipp 92). This concept was carried to other countries as well. Heller notes, for example, that Hermann Bahr, returning to Vienna from Berlin in 1893, was fascinated with the new movement in which artists depended on the formal qualities of painting to carry the primary meanings of their art ("Concerning Symbolism" 148). Among the Scandinavians, two of Munch's most influential friends carried the idea forward. In 1892, the Danish poet Emmanuel Goldstein enthused that Symbolism "shall aid us in finding a subjective form [to express] the reality alive in one's mind . . . the poet shall produce his reality himself" (quoted in Heller Munch 67). And, the astute Norwegian critic Andreas Aubert predicted, in 1890, an "Ideal and Realist Art," that would be a "subjective art of images drawn from the depths of the soul," and based on the techniques of Impres
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