The Dark Monarch: Magic and Modernity in British Art

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Skull Vision by Michael Ayrton (1943).

The Dark Monarch: Magic and Modernity in British Art: great title for an exhibition, a shame that it’s all the way down in Cornwall at Tate St Ives.

This group exhibition takes its title from the infamous 1962 book by St Ives artist Sven Berlin. It will explore the influence of folklore, mysticism, mythology and the occult on the development of art in Britain. Focusing on works from the beginning of the twentieth century to the present day it will consider, in particular, the relationship they have to the landscape and legends of the British Isles. (More.)

Artists featured include Graham Sutherland, Paul Nash, Barbara Hepworth, Henry Moore, Ithell Colquhoun, Cecil Collins, John Piper, Leslie Hurry and John Craxton. Among the contemporary artists there are Cerith Wyn Evans, Mark Titchner, Eva Rothschild, Simon Periton, Clare Woods, Steven Claydon, John Stezeker and Derek Jarman. Austin Osman Spare is notable by his absence but then that’s no surprise, the major occult artist of the 20th century never rates more that a passing mention from the art establishment. One nice surprise is seeing Ithell Colquhoun (1906–1988) featured in her second major British exhibition this year. (Her work is also present in the Angels of Anarchy exhibition running at the Manchester Art Gallery.) Colquhoun was a contemporary of Spare’s whose work turns up in occult encyclopaedias or overviews of the minor current of British Surrealism but she’s still largely unheard of outside those circles.

The Tate exhibition may be awkward to visit but there’s an illustrated catalogue available featuring contributions from quality writers including Brian Dillon, Philip Hoare, Jon Savage, Jennifer Higgie, Marina Warner, Michael Bracewell, Alun Rowlands and Martin Clark. Michael Bracewell has a piece about the exhibition at Tate Etc while Brian Dillon has an excellent essay in the Guardian connecting John Dee’s mysterious obsidian scrying mirror with some of the works on display.

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Untitled by David Noonan (2009).

Artist of the week: David Noonan
Ithell Colquhoun at A Journey Round My Skull

Previously on { feuilleton }
Angels of Anarchy: Women Artists and Surrealism
A=P=P=A=R=I=T=I=O=N
In the Shadow of the Sun by Derek Jarman

The art of Julien Champagne, 1877–1932

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An obscure occult artist even among catalogues of obscure occult artists, Julien Champagne (also listed as Jean-Julian) is known principally for his associations with the persistently elusive 20th century alchemist Fulcanelli. Champagne provided a frontispiece (below) for Fulcanelli’s examination of architectural symbolism, Le Mystère des Cathédrales (1926), and is continually rumoured to have been Fulcanelli himself. Whatever the solution to that mystery, the alchemist’s book is rather more visible than the artist’s distinctly Symbolist paintings. There’s a French blog devoted to his life and works here but little else around. I wouldn’t mind seeing a decent online gallery of his pictures at some point.

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Previously on { feuilleton }
Digital alchemy
The art of Pamela Colman Smith, 1878–1951
The art of Andrey Avinoff, 1884–1949
The art of Cameron, 1922–1995
Austin Osman Spare

The Great God Pan

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Pan teaching Daphnis to play the panpipes; Roman copy of a Greek original from the 3rd-2nd centuries BCE by Heliodoros.

“The worship of Pan never has died out,” said Mortimer. “Other newer gods have drawn aside his votaries from time to time, but he is the Nature-God to whom all must come back at last. He has been called the Father of all the Gods, but most of his children have been stillborn.”

So says a character in The Music on the Hill, one of the slightly more serious stories from Saki’s The Chronicles of Clovis (1911). Saki’s Pan is a youthful spirit closer to a faun than the goatish creature of legend. But being a gay writer whose tales regularly feature naked young men (surprisingly so, given the time they were written) I’m sure Saki would have appreciated the Roman statue above. There’s nothing chaste about this Pan with his “token erect of thorny thigh” as Aleister Crowley put it in his lascivious 1929 Hymn to Pan, a poem which caused a scandal when read aloud at his funeral some years later. The Roman statue was for a long while an exhibit in the restricted collection of the Naples National Archaeological Museum where all the more scurrilous and priapic artefacts unearthed at Pompeii were kept safely away from women, children and the great unwashed. These are now on public display and include the notorious statue of a goat being penetrated by a satyr.

Continue reading “The Great God Pan”

Austin Spare absinthe

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An Austin Spare pastel (?), Astral Body and Ghost, from the collection of Cyclobe‘s Ossian Brown adorns the label of this edition of Absinthe Brevans. Would the artist approve? Do we have to ask? He spent much of his life haunting pubs and I’d be very surprised if he hadn’t tried absinthe when he was a young Decadent. Absinthe Brevans A.O. Spare is €35 from Absinthe.de.

Via Further.

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Fata Morgana: The New Female Fantasists
Absinthe girls
Austin Spare’s Behind the Veil
8 out of 10 cats prefer absinthe
Austin Osman Spare

Aleister Crowley on vinyl

ac1.jpgThe appearance of occultist Aleister Crowley on the sleeve of Sgt Pepper is well-documented—here he is looking rather grainy on my CD insert—although I always forget which of the Beatles it was who put him in the list of “people that we like”. I’d guess John Lennon who would have appreciated Crowley’s obscene poetry, copious drug intake and ability to consistently épater la bourgeoisie.

Less well-known is what I presume must be the first outing for Crowley’s voice on this rare undated single from the mid-Seventies. Along with the cassette tapes I discussed earlier, this was another item turned up during a recent clearout of household junk. I’ve yet to see a detailed description of the origin of these Crowley recordings. I have the first CD pressing and haven’t looked at later editions so can’t say whether those contain more information about what are supposed to be wax cylinder recordings copied to acetates. The first complete collection of these was a vinyl release produced by David Tibet in a limited edition in 1986. I was among those that ordered a copy.

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The Marabo single features two of the same recordings, of course, albeit in slightly poorer quality. (And I love the way it has a removable centre, as though it might well end up in a jukebox.) One feature of the continual reissuing of the recordings is that sound quality has improved over the years. The versions of The Pentagram and La Gitana on YouTube sound better than the ones on my CD. The occult resonance of Crowley’s voice (which always reminds me of Winston Churchill) have inevitably made it a popular sampling source. In the pre-sampling era 23 Skidoo and Psychic TV (both with David Tibet) used loops of the Enochian Calls. Bill Laswell later took to using samples on his ambient releases and the most recent CD version includes an entire disc of ambience with Crowley’s voice subjected to digital processing.

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The sleeve art was by Steffi Grant, occultist wife of occultist Kenneth Grant, and it’s possible the pair sing backing vocals on the less-than-compelling B-side, a soft rock number entitled Scarlet Woman by Chakra. The song is credited to “Ponton/Ayers/Grant/Magee” so even if one or other of the Grants didn’t sing they helped with the lyrics. It should be noted that Mrs Grant’s artwork is often better than these illustrations and does much to enliven her husband’s volumes of occult philosophy. Some of their work was also featured in the seven-volume encyclopedia, Man, Myth and Magic, which featured Kenneth among the staff of consultants.

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Before anyone asks: no, the single isn’t for sale. I’ve sold a lot of old vinyl over the past few years but I’m keeping this particular item. I know a couple of unreleased recordings by Chakra exist; if anyone has further information about the group, please leave a comment.

Update: Jok posted a link which resolves the mystery. It was indeed Kenneth Grant on backing vocals.

Previously on { feuilleton }
Old music and old technology
The Man We Want to Hang by Kenneth Anger
The art of Cameron, 1922–1995
Austin Osman Spare