Theosophy and the Society in the Public Eye

Alexander Scriabin (1872 – 1915)

[from HPB: The Extraordinary Life and Influence of Helena Blavatsky, Founder of the Modern Theosophical Movement, by Sylvia Cranston and Carey Williams, research assistant, 3rd rev. ed. (Santa Barbara, CA: Path Publishing House, 1999; c. 1993), pp. 497-8.]

In his foreword to Faubion Bowers' The New Scrabin, the noted Russian pianist Vladimir Ashkenazy wrote:

“I consider Scriabin one of the greatest composers . . . . His music has a unique idealism . . . . The basis of his thought was an indestructible faith and loyalty to Art as a means of elevating man's spirit and of showing light, goodness, and truth. Although one cannot say that without understanding his philosophy one cannot understand his music, one penetrates deeper into his music if one studies what compelled Scriabin. One cannot separate the man-as-philosopher from the composer of such beautiful music.”


Alexander Scriabin

What, then, was Scriabin's philosophy? Boris de Schloezer, the composer's Russian biographer, discloses that Theosophy was the only very strong outside influence he ever received. In Faubion Bowers's two-volume biography of Scriabin, detailed information on this is provided.

Read more: Alexander Scriabin (1872 – 1915)

Modern Art and Theosophy

Modern Art and Theosophy

“Mondrian, like Kandinsky and Malevich (and much later Jackson Pollock), was heavily into a fashionable quasi-religious belief system called Theosophy, which espoused many of the tenets around which the artists built their philosophy. The idea of uniting the universal and the individual, the equality of the elements, and unifying the internal and external, are all drawn from Theosophy.” [Will Gompertz, What Are You Looking At? The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art (New York: Dutton, 2012), p. 193, with thanks to Katie Algeo for calling it to our attention.]


Theosophy, Fantasy, and Mary Poppins

 

John Algeo -- USA

Chapter 3: The Second Book of the Series: Mary Poppins Comes Back

Travers, Pamela L. Mary Poppins Comes Back. San Diego: Harcourt, Odyssey/Harcourt Young Classic, 1997, c. 1935.

Mary Poppins Comes Back, the second book of the series (with 269 pages of text), is about 1.67 times longer than the first book, with ten chapters, compared with the first book’s twelve chapters, so the episodes are significantly longer, as well.

Read more: Theosophy, Fantasy, and Mary Poppins

Mary Poppins

“Pamela Travers [the author of the Mary Poppins books] is a long-time devotee of Gurdjieff, Krishnamurti, Yeats and Blake. For her, the Mary Poppins books were never just children’s stories, but intensely personal reflections of her . . . blend of philosophy, mysticism, theosophy, Zen Buddhism, duality, and the oneness of everything.”  Craig Brown, Hello Goodbye Hello: A Circle of 101 Remarkable Meetings. New York: Simon & Schuster, 2012; pp. 57-8.

Blavatsky and Egypt

“The mid-Victorian period showed a marked interest in spiritualism, the occult and esoteric thinking, and Egypt provided a magnificent backdrop. The larger-than-life Madame Blavatsky gave rise to the Theosophy movement, and it is no coincidence that her first volume was entitled Isis Unveiled.” John Ray, reviewing The Mummy’s Curse: The True History of a Dark Fantasy (Oxford Univ. Press) in The Times Literary Supplement, Jan. 11, 2013, p. 8.

A Theosophical chemist and the touchy art collector. Hermann Hille vs. Albert C. Barnes

Marty Bax – The Netherlands

[This article appeared on the site Bax Art Concept & Services in October 2012. It is reproduced on Theosophy Forward and slightly edited with the kind permission of the author. Follow this link for more interesting articles and posts: http://baxpress.blogspot.nl/]

This story begins with a German organic chemist Hermann Hille. Hermann was born on June 7, 1871 in Mölln, Northern Germany, the city where the famous prankster Till Eulenspiegel presumably died in 1350. The young Hermann studied in Würzburg and received his PhD in 1900 in Heidelberg for his 42-page study Ueber das primäre und sekundäre symmetrische Hydrazid der Propionsäure und Valeriansäure. This title showed the twenty nine year old Herman to be very intelligent in his field and he was soon recruited by a young American chemist, Albert Coombs Barnes, who lured him into an adventure in the USA. It was to be a great adventure.

Read more: A Theosophical chemist and the touchy art collector. Hermann Hille vs. Albert C. Barnes

Mondrian and Theosophy – Part two


Robert P. Welsh – USA
[This article originally appeared in a book called The Spiritual Image in Modern Art containing a series of articles compiled by Kathleen J. Regier published by Quest Books. All images are purely educational illustrations to an academic review of the subject].


A young Piet Mondrian

If the Devotion comprised an attempt by Mondrian to give artistic expression to an esoteric, clairvoyant experience of "astral" colors appropriate to the preliminary stages of Theosophic initiation, then the Evolution triptych transports us to more exalted realms of occult knowledge. Above all, it is the title of this composition which betrays the ''higher spheres" to which its content relates. Evolution is no less than the basic tenet in the cosmological system predicated by Mme Blavatsky and, as such, replaces the Christian story of Creation as an explanation for how the world functions. This cosmology is analogous to Hindu and other mythologies which stress a perpetual cosmic cycle of creation, death, and regeneration. It also has much in common with the Darwinian scientific theory of evolution. Darwin's only essential mistake, in Blavatsky's opinion, was to substitute matter for spirit as the motivating force in the universe. In her own world view, matter, though constituting a necessary vehicle through which the world of spirit was to be approached, clearly stands second in importance to the latter phenomenon, from which, to be sure, matter is said to have been born. The resulting concept of spirit as the active and matter as the passive force in the world is, of course, deeply rooted in a wide range of mystical tradition reaching far back into the past, as the writings of Blavatsky profusely attempt to illustrate. 1  More to the point, this conceptual polarity was universally accepted as a cardinal doctrine throughout the Theosophic and other intellectually related late nineteenth century spiritualist movements and also is present within the subsequent Anthroposophy of Steiner and the Christosophie of Schoenmaekers. The same polar conception pervades the art theoretical writings of Mondrian, be-ginning with his letter to Querido of 1909, and is epitomized in his Sketchbook of circa 1912-14. In the latter text he specifically alludes to the Theosophic Doctrine of Evolution as a determining factor in the history of art. 2 In short, Mondrian could not have chosen as the theme of his monumental triptych a doctrine which was more central to Theosophic teaching than this.

Read more: Mondrian and Theosophy – Part two

Text Size

Paypal Donate Button Image

Subscribe to our newsletter

Email address
Confirm your email address

Who's Online

We have 125 guests and no members online

TS-Adyar website banner 150

Facebook

itc-tf-default

LOGO ITC

TS Point Loma/Blavatsky House

Vidya Magazine

TheosophyWikiLogoRightPixels