Mystical prints by Olga Fröbe-Kapteyn

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The Central Spiritual Sun.

This picture appears on the cover of an album of electronic music, The Golden Apples Of The Sun by Suzanne Ciani and Jonathan Fitoussi, which was released last Friday. Being already partial to the music of both Ms Ciani and Monsieur Fitoussi I’ve been enjoying this one (although there’s no CD…bah), and was curious about the cover art which I took at first for a contemporary creation. The artist, Olga Fröbe-Kapteyn (1881–1962) was born in the Netherlands but spent most of her life in Zurich where she was friends with Carl Jung, Richard Wilhelm and other mystically-inclined intellectuals, and where she formed Eranos (later the Eranos Foundation), a conference/institute for the exchange of ideas between West and East.

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Eternal Energy.

Fröbe-Kapteyn wasn’t a full-time artist, the screenprints she made in the 1930s appear to be an offshoot of her researches into archetypal symbolism, but she had an evident flair for this kind of image making. The Central Spiritual Sun is one of a series of 14 prints which are described as “Theosophist” although I can’t vouch for the accuracy of this. At least one of them (Kether, The Crown) refers to the Kabbalah, while several others have obvious Christian qualities. For those who like the Ciani/Fitoussi cover art, there’s an edition of the vinyl release of The Golden Apples Of The Sun that comes with a poster reproduction.

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Kether, The Crown.

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Reincarnation.

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The Divine Breath.

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Weekend links 292

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The Black Sun from Splendor Solis (1582) “attributed to the legendary figure Salomon Trismosin”.

Topic B predominates this week. The Black Sun of alchemy was the first thing I thought of when the title of David Bowie’s final album was announced late last year. The Black Sun symbolises the nigredo stage of the alchemical process when putrefaction or decomposition takes place; Carl Jung in Psychology and Alchemy equates the nigredo with the dark night of the soul. At the time I didn’t seriously think that the Bowie of 2015 would have had this in mind as a primary reference even though the Bowie of the early 1970s was immersed in Golden Dawn occultism, the Kabbalah, and a reader of Pauwels & Bergier’s The Morning of the Magicians, a book that informs the lyrics of the Hunky Dory album, and which contains a great deal of discussion about alchemy and other esoteric matters. And yet… Of all the outfits that Bowie might have worn in his final video the one that he chose for Lazarus is a match for the one he wore during the Station To Station Kabbalah-drawing photo session. At Sol Ascendans Alex Sumner and his commenters explored this twilight zone.

Back in the sublunary world, Jonathan Barnbrook’s cut-out sleeve design for the Blackstar album gained additional resonance this week: the black star as the hole that’s left when a more familiar star has been removed from its setting. Hindsight also makes poignant the observation that this was the only album without a picture of the artist on the cover. Elsewhere there were speculations about the title being a reference to Black Star by Elvis Presley (who shared a birthday with Bowie) or a term from oncology, two suggestions that fit so well they’re hard to ignore.

He began to develop a science fiction sensibility, drawing on the New Wave SF movement of Michael Moorcock and JG Ballard, other writers who used the genre such as Anthony Burgess and William S Burroughs, and an older fantasy tradition found in HP Lovecraft and Edward Bulwer-Lytton (whose The Coming Race is name-checked in Oh! You Pretty Things, 1971).

Jake Arnott on David Bowie’s literary influences

• In something-else-also-happened-this-week news, 2016 may see the long-awaited release of Andrei Tarkovsky’s films on Region B Blu-ray. Fingers crossed.

• International posters for The Man Who Fell To Earth. More Nicolas Roeg (and more shiny discs): Eureka (1983) will receive a Blu-ray release in March.

• Cracking the codes of Leena Krohn: Peter Bebergal on the Finnish writer of strange stories.

• Anthems for the Moon: Jason Heller examines David Bowie’s connections to science fiction.

• From 2013: Jon Savage on Bowie’s first meeting with William Burroughs in 1974.

• Mixes of the week: Bowie-esque Vol 1 and Bowie-esque Vol 2 by Abigail Ward.

David Bowie Doing Shit: a Tumblr

“Heroes” (1978) by Blondie & Robert Fripp | “Heroes” (2003) by King Crimson | “Helden” (2007) by Apocalyptica ft. Till Lindemann

The Red Book by Carl Jung

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This month is a major one in book publishing as Carl Jung’s magnum opus The Red Book, or Liber Novus, which has remained unpublished for 80 years, is issued in a facsimile edition. Selections of pages have been turning up in reviews and online previews which easily whet the appetite.

In his late 30s, Jung started writing a book called The Red Book. The Red Book is part journal, part mythological novel that takes the reader through Jung’s fantasies — hallucinations he self-induced to try and get to the core of his unconscious. … The book detailed an unabashedly psychedelic voyage through his own mind, a vaguely Homeric progression of encounters with strange people taking place in a curious, shifting dreamscape. Writing in German, he filled 205 oversize pages with elaborate calligraphy and with richly hued, staggeringly detailed paintings. (More.)

Jung maintained a lifelong fascination with alchemical symbolism and many of these pages resemble the kind of plates one finds in alchemical treatises such as the Splendor Solis, if that book had also contained additions from William Blake and Hildegard von Bingen. The only drawback is the price: at £120 this isn’t a casual purchase, but then this is over 400 pages of full-colour at a big size, 45.7 x 30.5 x 5.1 cm. Time to start petitioning rich relatives for Christmas.

The Holy Grail of the Unconscious

Previously on { feuilleton }
The art of Julien Champagne, 1877–1932
Digital alchemy
In the Shadow of the Sun by Derek Jarman