The art soars in pain examines the ways of receiving Pre-Raphaelitism, symbolism, Art Nouveau, Impressionism, and post-Impressionist trends, focusing on the fields of art criticism and art theory in Greece during the period 1890-1910.

It explores the reception of these trends within the broader acceptance of neo-Romantic ideas, the theosophical mysticism, occultism, spiritualism, decadent and generally irrational ideologies that were dynamically spreading across Europe at the end of the 19th and the beginning of the 20th century.

With the aim of reconstructing the ideological trends, concepts, and arguments of the intellectuals of that time, their discussions and disputes around issues of aesthetics and art, as well as their philosophical and epistemological prerequisites, elements of social action and primarily the ideological production of this period are gathered.

This involves the interpretation of the theoretical, literary, art-critical, and more broadly journalistic texts of Nirvana, Palamas, Hatzopoulos, Theotokis, Xenopoulos, Episcopopoulos, Kampysis, Ang. Vlachos, Psycharis, P. Giannopoulos, D.I. Kalogeropoulos, Vokos, Michailidis, etc., which relate to the visual arts and the work of artists such as Baiklin, Ruskin, Rodin, Puvis de Chavannes, Burne-Jones, Segantini, Stuck, Klint, Rops, Gyzis, Iakovidis, Parthenis, etc.

[Excerpt from the text on the back cover of the edition]