The aim of this paper is to define the symbolist art at the end of nineteenth century through its subject matter and critical consciousness. The methodology used defers from the traditional analysis, which are based essentially upon the formal structures. By tracing the origins of symbolist art in the early forms of human expression (language, movement) as, for example, E. Cassirer and S. Langer have done in their works, we point out that the overwhelming domination of the positivism and Their creasing emphasis on sciences and their impact on impressionism constitute the main causes of the plurality and the irrationalism found in art representations at the end of the nineteenth century. A further analysis will show how the reaction against the increasing materialism that predominated in the urban centers transforms the art movement toward spiritual idealism as well as criticism. At the second part of the paper, we proceed to analyze through selected art works three features of their narrative contents: the fantastic microcosm, whereby art serves as a window open toward the spirit or nature, the synthetic idealism, which focuses on representation as communion of the senses, and the criticism of humanity, which focuses on the transience and impermanence of earthly desires. All these features represent ways to reach a profound dimension of interiority in art.