Ernst Fuchs, one of the founders of the Vienna School of Fantastic Realism in 1946, and a big influence on a later generation of artists such as HR Giger and Robert Venosa.
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Category: {painting}
Painting
Austin Osman Spare
Today is the 50th anniversary of the death of one of my favourite artists, Austin Osman Spare.
Like many people in the 1970s, I was introduced to the work of Austin Spare by Man, Myth and Magic, a seven volume “illustrated encyclopedia of the supernatural” published weekly in 120 112 parts by Purnell. My mother was a Dennis Wheatley reader so we had a couple of occult paperbacks in the house, among them one of William Seabrook‘s accounts of voodoo in Haiti and a copy of Richard Cavendish’s wonderful magical primer, The Black Arts, (later retitled The Magical Arts). Cavendish had been chosen as editor of Man, Myth and Magic and included occultist and writer Kenneth Grant on his editorial staff, a decision that gave the book’s producers access to Grant’s collection of Spare pictures. In a rather bold move, they launched Man, Myth and Magic in 1970 with a detail of a Spare drawing on the cover, a work often referred to as The Elemental although the authoritative Spare collection, Zos Speaks has it titled as The Vampires are Coming. It’s a shame that AOS didn’t live for a few more years to see this; after labouring in poverty and obscurity for most of his life he would have found his work flooding Britain, with this first issue on sale all over the country and the cover picture being pasted on billboards and sold as posters. It’s possible there were even television adverts for the book (although I don’t recall any), since there usually were for expensive part works like this.
The art of Jean-Marie Poumeyrol
L’abattoir.
From ‘Visionary Art in France’, The Visionary Review, Fall 2004:
Poumeyrol shares with Margotton a fascination for the interior landscape, where dimly illuminated grottos resonate with the remains of past epochs. And yet, his barren and abandoned spaces are often redolent with signs of the artists’ own lost memories.
In his early works, Jean-Marie Poumeyrol was recognized as a master of erotica, combining hallucinogenic and macabre imagery in an unparalleled manner. But, in his maturity, the artist has displayed a marked fascination for landscapes, particularly the enclosed spaces of sewers, industrial waste and disposal plants. Yet, the amazing accuracy and finesse of rendering which enlivened his early works has not left him and, if anything, only increased with age.
Las Pozas and Edward James
Edward James by René Magritte, La Reproduction Interdite (1937).
Art collector Edward James (1907–1984) was a characteristically English eccentric, a kind of 20th century equivalent of William Beckford or Horace Walpole, who was captivated by Surrealism in the 1930s and became a lifelong devotee of the movement. Much of his inherited wealth was spent supporting artists such as Salvador Dalí, René Magritte and Lenora Carrington and his homes at Monkton House and Walpole Street in London were transformed into showcases of Surrealist decor; Dalí’s famous sofa modelled on Mae West’s lips was designed with assistance from James.
View: The Modern Magazine
Portrait of Charles Henri Ford in Poppy Field by Pavel Tchelitchew (1933).
View magazine was an American periodical of art and literature, published quarterly from 1940 to 1947 with heavy emphasis on the Surrealist art of the period. The astonishing list of contributors included Jorge Luis Borges, Alexander Calder, Albert Camus, Marc Chagall, Joseph Cornell, Jean Dubuffet, Lawrence Durrell, Max Ernst, Jean Genet, Paul Klee, Henry Miller, René Magritte, André Masson, Joan Miró, Georgia O’Keefe, Pablo Picasso, Man Ray, Edouard Roditi, Yves Tanguy, and Pavel Tchelitchew.