Receive notification of new arrivals in your topics of interest. Earth Inferno. London: Privately Published. First Edition. Folio 18" x Original brown paper wrappers with black title etc.
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Together they moved into a tenement called Bloomfield House on Bloomfield Place, King Street in Snow Hill , which was inhabited by the families of police officers, drivers, clerks and market workers. Here, Spare attended St.
Agnes School, attached to a prominent High Anglican church, and as a child he was brought up within the Anglican denomination of Christianity. Patterson claimed to be a descended from a line of Salem witches that Cotton Mather had failed to extirpate.
Agnes School and gained employment at Sir Joseph Causton and Sons, a company that focused on the design of posters. In the evenings he attended the Lambeth School of Art. Louis Exposition and the Paris International Exhibition , and in he won a silver medal at the National Competition of Schools of Art, where the judges, who included Walter Crane and Byam Shaw , praised his "remarkable sense of colour and great vigour of conception. Self-published by Spare through the Co-Operative Printing Society, copies of Earth Inferno were purchased by Pankhurst and other friends from the college.
Here, his paintings illustrated many of the themes that would continue to inspire him throughout his life, including his mystical views about Zos and Kia. Journalists from the British press took a particular interest in his work, highlighting the fact that, at seventeen years of age, he was the youngest artist in the exhibition, with some erroneously claiming that he was the youngest artist to ever exhibit at the show. Watts allegedly stated that "Young Spare has already done enough to justify his fame", while Augustus John was quoted as remarking that his draughtsmanship was "unsurpassed" and John Singer Sargent apparently thought that Spare was a "genius" who was the greatest draughtsman in England.
One alleged that he aspired to eventually become the President of the Royal Academy itself, something he would quickly deny. The volume contained a number of self-portraits; he also filled many of the images with illustrations of bric-a-brac , of which he was a great collector. The book was finished off with an introduction authored by Scottish painter James Guthrie. His later biographer Phil Baker would later characterise it as "a remarkable work of Edwardian black-and-white art" which was "far more confidently drawn and better finished than the work of the Satyrs".
An "important self-portrait", it would later be bought by Led Zeppelin -guitarist Jimmy Page. Attracting widespread interest and sensational views in the press, he was widely compared to Aubrey Beardsley, with reviewers commenting on what they saw as the eccentric and grotesque nature of his work. The World commented that "his inventive faculty is stupendous and terrifying in its creative flow of impossible horrors", while The Observer noted that "Mr. Crowley introduced himself to Spare, becoming a patron and champion of his art, which he proclaimed to be a message from the Divine.
Eager to marry off her daughter, who already had one child from an earlier relationship, Mrs Shaw soon introduced Spare to her child, Eily Gertrude Shaw Spare fell in love, producing a number of portraits of Eily, before marrying her on 4 September At the wedding, Spare choked on his wedding cake , something his bride thought hilarious.
Russell, in which his illustrations once more displayed his interest in the abnormal and the grotesque. Exploring his own mystical ideas regarding the human being and their unconscious mind, it also discussed magic and the use of sigils. In a note included in the publication, Spare stated that there were still many sections of the book missing, including a proposed introduction written by Daniel Phaer, but that he hoped these would be included in a second edition; ultimately this would never come about.
At the same time, he was involved in a newly launched popular art magazine known as Colour, which was edited in Victoria Street, submitting a number of contributions to its early issues.
Envisioning his new venture, titled Form, as a successor to The Yellow Book, he was joined as co-editor by the etcher Frederick Carter , who used the pseudonym of Francis Marsden. Davies , J. Squire , Ricketts and Shannon. Spare and Carter co-wrote an article discussing automatic writing , arguing that it allowed the unconscious part of the mind to produce art, a theme that Spare had previously dealt with in The Book of Pleasure.
As a result, Spare was forced to join the Royal Army Medical Corps , initially being stationed at its depot in Blackpool , where he worked as a medical orderly, giving tetanus vaccine injections to British troops before they were sent abroad.
At Blackpool, he was reprimanded for scruffiness, and complained that a part of his pay was being taken away for a "sports fund. Here, he was appointed to the position of Acting Staff-Sergeant, and given the task of illustrating the conflict along with other artists based in a studio at 76 Fulham Road. Following the victory of Britain and its allies, Spare had moved into a small flat at 8 Gilbert Place in Bloomsbury , Central London, where he lived alone; although they never gained a divorce , Spare had separated from his wife Eily, who had begun a relationship with another man.
Fuller and Havelock Ellis. However, Spare discontinued the magazine after the third issue, which was published in January Sandilands of the Royal College of Art. According to this story, the accuracy of which has never been verified , in Hitler requested that Spare travel to Berlin to produce a portrait of the Nazi leader, but that Spare refused, remarking that "If you are a superman, let me be forever animal.
His arms were also injured in the blast. A commercial success, the works on display showed the increasing influence of Spiritualism on his thought, and included a number of portraits of prominent Spiritualists like Arthur Conan Doyle and Kate Fox-Jencken. He also featured a number of portraits of famous movie stars in the exhibit, leading him to later gain the moniker of "the first British Pop Artist ".
Spare and the Grants became great friends, frequenting a number of London pubs together and sharing books on the subject of the esoteric. Interested in witchcraft, he was introduced to Gerald Gardner , the founder of Gardnerian Wicca , but remained unconvinced that he offered anything of spiritual worth. Notably, Grant claimed that Spare had been a member of the secretive Cult of Ku, a Chinese occult sect who met in Stockwell to worship a serpent goddess.
Spare held his first pub show at the Temple Bar in Walworth Road in late , which again proved successful, earning Spare guineas. The fifth issue, for August—September , contained an article on Spare and his work, while the sixth contained an article written by Algernon Blackwood that was illustrated by Spare.
Many of these works were exhibited in the summer of at the Mansion House Tavern in Kennington , and then at The White Bear pub in the autumn of , but the latter proved to be a commercial failure. In he would write that he was fed up of exhibiting in pubs, wishing to return to selling his works from actual galleries.
A great fan of the wireless, he eagerly agreed, but was deeply upset by the result, which appeared on an episode titled "Unusual Beliefs", believing that he had been ridiculed. Spare died on the afternoon of 15 May , at the age of His funeral was paid for by his friend Hannen Swaffer, and he was buried alongside his father at St.
He was productive from his earliest years until his death. According to Haydn Mackay, "rhythmic ornament grew from his hand seemingly without conscious effort. Critical reaction to his work in period ranged from baffled but impressed, to patronizing and dismissive. And here we must credit Mr. Spare with a considerable fund of fancy and invention, although the activities of his mind still find vent through somewhat tortuous channels.
Like most young men he seems to take himself somewhat too seriously". Spare was first heard of six or seven years ago he was hailed in some quarters as the new Beardsley, and as the work of a young man of seventeen his drawings had a certain amount of vigour and originality. But the years have not dealt kindly with Mr. Spare, and he must not be content with producing in his majority what passed muster in his nonage.
However, his designs are not inappropriate for the crude paradoxes that form the text of this book. It is far easier to imitate an epigram than to invent one. This was a short-lived project, but during its brief career it reproduced impressive figure drawing and lithographs by Spare and others. The show was the last West End show Spare would have for 17 years. He would teach a little from January to June, then up to the end of October, would finish various works, and from the beginning of November to Christmas would hang his products in the living-room, bedroom, and kitchen of his flat in the Borough.
There he kept open house; critics and purchasers would go down, ring the bell, be admitted, and inspect the pictures, often in the company of some of the models - working women of the neighbourhood. He worked chiefly in pastel or pencil, drawing rapidly, often taking no more than two hours over a picture. He was especially interested in delineating the old, and had various models over 70 and one as old as But Spare did not entirely disappear.
During the late s he developed and exhibited a style of painting based on a logarithmic form of anamorphic projection which he called "siderealism". This work appears to have been well received. In he exhibited at the Archer Gallery, producing over works for the show. It was a very successful show and led to something of a post-war renaissance of interest. Public awareness of Spare seems to have declined somewhat in the s before the slow but steady revival of interest in his work beginning in the mids.
The critic writes that the curator of the exhibit has resurrected an unknown English artist named Austin Osman Spare, who imitates etchings in pen and ink in the manner of Beardsley but really harks back to the macabre German romanticism.
He tortured himself before the first war and would have inspired the surrealist movement had he been discovered early enough. He has come back in time to play a belated part in the revival of taste for art nouveau. Ithell Colquhoun supported his claim to have been a proto-Surrealist and posthumously the critic Mario Amaya made the case for Spare as a Pop Artist.
Typically, he was both of these - and neither. A superb figurative artist in the mystical tradition, Spare may be regarded as one of the last English Symbolists, following closely his great influence George Frederick Watts.
For the band, see Zos Kia. From his early years, Spare developed his own magico-religious philosophy which has come to be known as the Zos Kia Cultus also Zos—Kia Cultus ,  a term coined by the occultist Kenneth Grant. Raised in the Anglican denomination of Christianity, Spare had come to denounce this monotheistic faith when he was seventeen, telling a reporter that "I am devising a religion of my own which embodies my conception of what; we are, we were, and shall be in the future.
Spare described "Zos" as the human body and mind, and would later adopt the term as a pseudonym for himself. In this way, Moore argued, Spare was offering an "ultimate and transcendent expression of himself at the extremities of his own being. Alternately, he thought that it might have been adopted from Madame Blavatsky in her book The Secret Doctrine , which refers to the idea of an ultimate power as Kia-yu.
If its desire to fly had been conscious, it would have had to wait till it could have done so by the same means as ourselves, i. He considered the conscious part of the mind to be useless for this, believing that it only served to reinforce the separation between ourselves and that which we desire. Under certain conditions, that which is repressed can become even more powerful than that which is held in the conscious mind.
It was a logical conclusion to view the subconscious mind as the source of all magical power, which Spare soon did. In his opinion, a magical desire cannot become truly effective until it has become an organic part of the subconscious mind. Despite his interest in the unconscious, Spare was deeply critical of the ideas put forward by the psychoanalysts Sigmund Freud and Carl Jung , referring to them as "Fraud and Junk. In many ways this theory offered a unison of reincarnation and evolution, both being factors which Spare saw intertwined which furthered evolutionary progression.
For these reasons, he believed in the intimate unity between humans and other species in the animal world; this was visually reflected in his art through the iconography of the horned humanoid figures. Although this "atavistic resurgence" was very different from orthodox Darwinism , Spare greatly admired the evolutionary biologist Charles Darwin , and in later life paid a visit to the Kentish village of Downe , where Darwin had written his seminal text On the Origin of Species Carroll amongst others, especially in his influential Liber Null , a sourcebook of chaos magic.
Following his experience with Aleister Crowley and other Thelemites, Spare developed a hostile view of ceremonial magic and many of those occultists who practiced it, describing them as "the unemployed dandies of the Brothels" in The Book of Pleasure. Throughout his life, Spare was an animal lover, taking care of any animals that he found near his home. John Balance of the influential early industrial music group Coil described Spare as being his "mentor," and claimed that "what Spare did in art, we try to do through music.
"Earth: Inferno" (Austin Osman Spare) -by Mor Navón & Julián Moguillansky
There are no discussion topics on this book yet. Need to read this again. Often surrounded by models young and old, he would receive critics and buyers, showing them his latest pictures in the living room, bedroom and kitchen. Nov 30, Hans added it.