Stop right there I have heard enough I don’t care for the menu Time to move on wasted enough already
And or but Into the fog Maybe the smoke If it is the conflagration after all Either or neither Nether ever never Wood coal pour some oil Cant see the forest for the trees
I saw you for the first time again You seemed different somehow Though I had to admit That you looked so good I just had to touch myself Forgetting that your kisses Always left their mark Bruising and wounding Ah well what’s sex without pain Love always requires some seasoning
Will you ever…. You make everything sound so dirty Though you will probably take that As some form of obscure compliment After all you wrote a pornographic reprise Of Aquinas’s Summa But I’ve come here to bury you Not to praise Are you listening Do you catch…
Come now cough ante pony up No thing like a free Take a look at the fork We are all exposed In some form of fashion What a season Hell’s got nothing Here is the variety Nauseating horrific exhilarating No time for the honorific Down here while I describe With disgust my various Beautiful disguises
Hilma af Klint raises many questions concerning the history of modern art. Wassily Kandinsky’s untitled watercolour of 1910 was long considered to be the first abstract painting, a turning point in the course of Modernism. Abstraction was to influence, and at times dominate the art of the entire 20th Century. Yet this tidy version of events was upset to a certain extent by the discovery of the private abstract paintings of Hilma af Klint, some of which predate Kandinsky’s watercolour by 4 years.
Hilma af Klint was born into a naval family in the Karlberg Palace just outside of Stockholm, Sweden in 1862. After an idyllic childhood she studied at Academy of Fine Arts in Stockholm where she graduated with honours and as a post graduate scholarship was awarded an atelier. She made a living as a conventional landscape and portrait artist, occasionally supplanted by botanical and technical drawings
af Klint had developed an abiding interest in Spiritualism and the Theosophy of Madame Blavatsky at an early age after the death of her younger sister in 1880. She formed a group called ‘the Five’ with four other women artists with the expressed intention of contacting the ‘High Masters’. The group met weekly to conduct seances and in 1896 experimented with automatic drawing and writing, a full twenty years before the Surrealists. During one seance in 1905 she received instructions from a spirit named Amaliel that she was to execute the’Paintings for the Temple’. af Klint said she had no idea what the Temple was but from 1906 to 1915 (with a four year hiatus between 1908-1912) she completed 193 large scale paintings , some as large as 10 foot tall, a remarkable work rate, especially considering her petite stature (she was 5ft on the dot).
af Klint was in no doubt that she was receiving assistance from the beyond. Commenting on the Temple paintings she noted, “The pictures were painted directly through me, without any preliminary drawings, and with great force. I had no idea what the paintings were supposed to depict; nevertheless I worked swiftly and surely, without changing a single brush stroke.”
In 1915 the guiding spirit left, but af Klint continued painting in the abstract vein, though on smaller canvases. The paintings of this period show the marked influence of the ideas of Rudolf Steiner, the founder of Anthroposophy. Upon meeting Steiner, Hilma showed him the Temple paintings, however he said that the world wasn’t ready to see them for at least another fifty years, which may have influenced her decision to stipulate that the 1,200 paintings and many notebooks (which explains in depth the complex letter and colour symbolism of the paintings) wouldn’t be made public until twenty years after her death.
After her death in 1944 her nephew Erik af Klint, Vice-Admiral of the Swedish Royal Navy complied with her wishes. He offered the Swedish Moderna Museet Hilma’s complete archive in 1970 but they declined. In wasn’t until 1986 that an exhibition of her work was held. af Klint’s work is held in by a foundation so none of her work is on the market or held by museums. There are plans however for an exhibition centre dedicated to af Klint just south of Stockholm.
The question whether af Klint or Kandinsky was the first abstract painter is largely academic. af Klint abstracts were created in isolation and remained private until 80 years after they were painted. They show an urgent spiritual need to fashion a personal mythology in the manner of Blake or Goya’s Pinturas Negras. Interestingly the recognised pioneers of abstraction, Kandinsky, Malevich and the unknown af Klint were all immersed in esoteric and Theosophical doctrine.
In upcoming posts I will discuss the symbolic system as outlined by af Klint to shed further light on these mysterious paintings as well as a feature on her major series, The Ten Largest.
If, after having decided that you need a short holiday away from the Uneasy City, and lets be honest who doesn’t need an occasional break from its atmosphere of incessantly vicious inanity and barely suppressed menace, you find yourself at the station where the train never stops, the best way to while away the seasons, millennia and kalpas waiting is the fully illustrated collection Motion No. 69, available within the coming weeks. Not only does it hold the possibility of a promise of paradise, it also comes in handy in avoiding the too frank gaze of the woman with the smeared lipstick, containing as it does a calculating carnality.
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
Man Ray’s curious photograph of the Marchesa Luisa Casati, who desired to be a living work of art and was the wild-eyed muse of the Italian decadent, Futurist and fascist Gabriele D’Annunzio. Entitled The Portrait Of My Soul, the fact that Man Ray decided to portray his soul as feminine seems to anticipate Jung’s theory of the anima/animus, however Man Ray was well versed in the same esoteric doctrines that so profoundly influenced the Swiss psychiatrist.