Writing and magic have always been closely associated. The Egyptian God Thoth was thought to be the inventor of writing and the patron of every magical art. The considerable cultural contact and resulting overlap over the centuries because of conquest and trade between Egypt, Greece and Rome led to the deities Hermes and Mercury who shared many of the same attributes as Thoth before they all further blended together, creating the composite figure that was to later a immeasurable influence in the history of ideas, Hermes Trismegistus. At a later date and further north in what Roman writers christened as Ultima Thule, Odin, was the God of Seid (Sorcery) and, as described in the strange scene where Odin sacrifices himself to himself in Havamal, the inventor of runes which it is suggested throughout Norse mythology as being an alphabet with an inherently magical purpose. Even in modern day English the connection remains; spell needs no explanation and a grimoire refers to grammaire which is a book of Latin grammar. Continue reading
An exceptional artist and in my opinion an even better writer Leonora Carrington was the inspiration for many of Max Ernst masterpieces, notably The Robing Of the Bride (see A Week of Max Ernst: Friday) and was in many aspects the archetypal Femme-Enfant of Surrealist desire; a dubious honour that Carrington, as one of the founding members of the Women’s Liberation Movement in Mexico in the 1970’s, found galling.
Daughter of a English industrialist and an Irish mother, Leonora identified closely with her Celtic heritage which was to play an important part in her art. She was a rebellious child and was expelled from two private boarding schools for her unruly behaviour, subsequently she was sent to Florence to study art. In 1936 at the age of her 19 her mother gave her Herbert Read’s book Surrealism and she was intrigued. When the International Surrealist Exhibition came to London Carrington visited and was struck most forcibly by Ernst’s work. Shortly after she met Ernst at a party, they were immediately besotted and so began one of the most passionate and productive of all Surrealist love affairs. The 46-year-old Ernst immediately left his second wife for the 20-year-old Carrington; however a divorce wasn’t immediately granted and a torrid love triangle ensued until the outbreak of WWII which changed the situation dramatically. Ernst was interned twice first by the French as a German national and then by Gestapo as a degenerate artist. He managed to escape with the aid of Peggy Guggenheim who later became his third wife for a short period. Leonora suffered a mental breakdown that resulted in her being institutionalised in a Madrid psychiatric hospital; a period she characterised as living on The Other Side of the Mirror. Later Andre Breton encouraged her to set down her experiences and the result was published as Down Below.
Leonora and Max met again later in New York but their wartime experiences had been too intense for their affair too continue, however they carried a candle for each other till the end of their days despite their respective marriages. Carrington ended up in Mexico City where she was good friends with Benjamin Peret’s wife and fellow Surrealist artist who shared her occultist affinities, Remedios Varos (though Frida Kahlo wasn’t impressed, she referred to them as ‘those European bitches’) and would get occasional visits from Luis Bunuel, who speaks of Carrington with genuine fondness in his autobiography My Last Sigh as well as highly praising her marvellous Surrealist novel The Hearing Trumpet. Another friend from this period was the maverick film-maker Alejandro Jodorowsky who frequently stopped by to discuss the Tarot and alchemy. Carrington remained in Mexico City producing art and sculpture up until the first decade of the 21th century, becoming in the process something of a Mexican National Living Treasure until her death in 2011 at the grand old age of 94
During the 1930’s Surrealism expanded outside Paris. Despite defections, internal discord and excommunications, Breton’s genius at spotting and recruiting talent, plus major exhibitions held in London and New York meant Surrealism had become a truly global movement. Continue reading
Assia features in several of Germaine Krull’s work of the 1930’s. She was also the muse of several other photographer’s including Dora Maar, Emmanuel Sougez and Roger Schall. She also posed for Andre Derain and several sculptors including Charles Despiau whom she would sit for twice a week from 1934 to 1938.
Assia Granatouroff was born in the Ukraine in 1911 of Jewish heritage. Her family fled revolutionary Russia and settled in France in 1922. After studying textile design she began working as a model in 1930. This proved so successful that it financed a theatrical and film career. With the invasion of France she fled to Marseilles but was arrested by the Gestapo. However she managed to escape and joined the Resistance. After the war she took to producing esoteric artworks inspired by the Tarot.
The photographs of Assia have an almost sculptural quality, emphasising Assia’s full, powerful figure and the statuesque nature of her Amazonian beauty.