{occult} – Page 98 – { feuilleton }

Dalí and the City

left: Lady Godiva with Butterflies; right: Alice in Wonderland.

London already has a number of Salvador Dalí works on display but there’s even more to see this month with an exhibition at Moor House, London Wall, where a handful of minor pieces are on show until 30th June, 2011. Dalí and the City features the artist’s Alice in Wonderland sculpture as well as the print shown here, and also some Tarot card designs. The masculine form of Lady Godiva above can be taken as further confirmation of Dalí’s recurrent interest in gender confusion. The Independent has more examples from the show while this page has details of opening times.

Previously on { feuilleton }
• Dalí’s Elephant
• Dalí in Wonderland
• Dirty Dalí
• Impressions de la Haute Mongolie revisited
• Dalí and Film
• Salvador Dalí’s apocalyptic happening
• Dalí Atomicus
• Impressions de la Haute Mongolie

Laurie Lipton’s Splendor Solis

Splendor Solis: Winged (1989).

Following from the post earlier this month about the Splendor Solis series of alchemical plates, Thom draws my attention to a contemporary reworking by American artist Laurie Lipton. I seem to recall seeing one of these at Phantasmaphile but didn’t think at the time to see whether Ms Lipton had any similar work. She does indeed have similar work, her own versions of the entire series of plates, all of them detailed drawings produced with coloured pencils. See the full set here. Thanks Thom!

Previously on { feuilleton }
• The Arms of the Art
• Splendor Solis

The Arms of the Art

The Arms of the Art (2000).

An addendum to the Splendor Solis post. The Arms of the Art was a drawing I did in 2000 intended to inaugurate a series of pencil improvisations based on the Splendor Solis alchemical plates. As things turned out I only managed the first in the series (the picture it uses as a starting point is here) and about half of the second one which is languishing in a pad somewhere. Nothing in this drawing was planned or sketched beforehand, it was all done directly onto the paper, the idea being that I’d take the basic symbols or elements of each plate as a starting point and see what emerged once I began moving the pencil around. What usually emerges in these situations is a kind of abstracted landscape of hybrid forms that could be either mineral, organic or something in between. Some of the paintings I was doing in the 1990s followed a similar process, the challenge being to see how far you can develop things without the result becoming either too pictorial or too abstract; the painting below is an earlier example. I still like the idea of re-interpreting the Splendor Solis, and if I didn’t have other projects in progress I might be prepared to try it again. Maybe later.

Eidolon (1997).

Previously on { feuilleton }
• Splendor Solis

Splendor Solis

Venus: The Peacock’s Tail.

The Tarot-like illustrations to the Splendor Solis, a 16th-century alchemical manuscript, have fascinated me for years, ever since I saw them reproduced in the pages of Man, Myth & Magic. Despite their familiarity, the copies online are less than satisfactory, mostly poor scans from books with inconsistent colours. Given the amount of original alchemical documents being made available by the world’s libraries it’s only a matter of time until a decent set of reproductions turn up. Until then there’s a complete set of the plates here with details about the book and links to further information. As usual, if anyone finds better copies—preferably from a copy of the original text—please leave a comment.

The Black Sun.

Hermaphrodite with Egg.

Previously on { feuilleton }
• Amphitheatrum Sapientiae Aeternae
• Cabala, Speculum Artis Et Naturae In Alchymia
• Digital alchemy

Amphitheatrum Sapientiae Aeternae

Laboratorium.

More alchemical business which should be familiar to anyone who’s cracked open an occult history or two. Familiar as these illustrations often are, it’s only recently that we’ve been able to scrutinise their mysteries in detail thanks to the services of various libraries and online archives. These plates are from Amphitheatrum Sapientiae Aeternae (1609) by Heinrich Khunrath, and the Laboratorium is often reproduced as a rather grand example of the alchemist’s workplace. As for the picture below, it’s a shame it didn’t turn up a few years ago when Jay Babcock asked me if I had a decent copy of the illustration for an Arthur magazine article. All I had was a tiny reproduction so I think the piece ran without the picture in the end. The ETH Bibliothek has further illustrations from this volume including a portrait of Meister Khunrath and his pet hound.

Another tip via the BibliOdyssey Twitter feed.

Designatio Pyramidum.

Elsewhere on { feuilleton }
• The etching and engraving archive

Previously on { feuilleton }
• Cabala, Speculum Artis Et Naturae In Alchymia
• Digital alchemy