"Mirages and visions in the air": Tyra Kleen and the paradoxes of esoteric art
Around the year 1900, European discourse on art was becoming increasingly "esotericized". The 1890s saw esoteric art salons create a sensation in Paris, and art critics and theorists painted a picture of the true artist and the esotericist as overlapping figures. There was also at the time...
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| Type de support: | Électronique Article |
| Langue: | Anglais |
| Vérifier la disponibilité: | HBZ Gateway |
| Journals Online & Print: | En cours de chargement...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publié: |
[publisher not identified]
[2021]
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| Dans: |
Approaching religion
Année: 2021, Volume: 11, Numéro: 1, Pages: 63-76 |
| Sujets / Chaînes de mots-clés standardisés: | B
Suédois
/ Kleen, Tyra af 1874-1951
/ Art
/ Ésotérisme
/ Voix moyenne
/ Spiritisme
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| RelBib Classification: | AD Sociologie des religions AE Psychologie de la religion AZ Nouveau mouvement religieux KBE Scandinavie |
| Accès en ligne: |
Volltext (kostenfrei) Volltext (kostenfrei) |
| Résumé: | Around the year 1900, European discourse on art was becoming increasingly "esotericized". The 1890s saw esoteric art salons create a sensation in Paris, and art critics and theorists painted a picture of the true artist and the esotericist as overlapping figures. There was also at the time a conflict regarding mediumistic art, a phenomenon initially made popular through Spiritualist mediums. This debate, as we shall see, had interesting gendered dimensions. In what follows, I will discuss how the Swedish female esotericist and artist Tyra Kleen (1874-1951) attempted to situate herself in connection to the concept of the artist as a magus, and the tensions between the positive view of mediumism in Spiritualism and the more negative or cautious approach to it in Theosophy, as well as in relation to the attendant gender issues. |
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| ISSN: | 1799-3121 |
| Contient: | Enthalten in: Approaching religion
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| Persistent identifiers: | DOI: 10.30664/ar.98199 |