Mysticism and Occultism in Modern Art

Author(s): Linda Dalrymple Henderson

Source: Art Journal, Vol. 46, No. 1, Mysticism and Occultism in Modern Art (Spring, 1987),
pp. 5-8
Published by: College Art Association
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Editor's Statement:
Mysticism and Occultismin
Modern Art
By Linda Dalrymple Henderson
he articles in this issue of Art Jour-
T nal were chosen from the more than
thirty papers proposedfor the session on
"Mystical and Philosophical Themes in
Modern Art" at the 1986 Annual Meet-
ing of the College Art Association. The
overwhelming response to that call for
papers documents the growing activity
in a field pioneered in the late 1960s by
such figures as the Mondrian scholar
Robert Welsh and the Kandinsky schol-
ars Sixten Ringbom and Rose-Carol
Washton Long.' To choose from among
that group of possible articles the small
number for which there was space was
extremely difficult; my choices in the
end were made in order to present an
overview of the period from 1885 to
1930 and, where possible, to use texts by
young scholars who had recently com-
pleted dissertations on a relevant topic
(e.g., Kosinski, Benson, Gibson, and
Warlick). This group of articles also
complements the catalogue of the Los
Angeles County Museum's Fall 1986
exhibition, The Spiritual in Art: Ab-
stract Painting 1980-1985, organized
by Maurice Tuchman and Judi Free-
man assisted by a team of consulting
scholars.2 The seventeen essays, glossa-
ry, and extensive bibliographical back-
ground material on mysticism and oc-
cultism in that catalogue will serve as
essential resources for any scholar work-
ing in this area.
In the tradition of the earliest studies
of the mystical and occult sources for
modern art, which focused on the pio-
neers of abstraction-Kandinsky, Mon-
drian, Kupka, and Malevich-the Los
Angeles catalogue concentrates on to-
tally abstract painting. Yet a large pre-
liminary section of the exhibition is
devoted to Symbolism, and the first
three articles of this Art Journal issue
demonstrate that mysticism and occult- ity." Although mysticism can be treated
ism were central to Symbolism. Indeed, as a subset within the larger category of
apart from the text on Kandinsky by occultism, as Galbreath has done, there
Rose-Carol Washton Long, the respon- exists a prominent, independent mysti-
dent for the 1986 C.A.A. session, none cal tradition. Mysticism has a long his-
of the articles in the present issue discusstory in both Eastern and Western
purely abstract paintings, since my call thought, and, unlike occultism, in which
for papers was intended to elicit new the individual must be initiated into a
material on modernism in general. As body of secret knowledge, it is based on
the following essays suggest, the emer- an individual's personal experience of
gence in the later nineteenth century of transcendence. Nevertheless, elements
new theories about the nature of reality of the mystical tradition have often con-
and the nature of the self created an tributed to subsequent occult doctrines,
openness towards mystical and occult as in the role of mystical Neoplatonism
ideas that increasingly can be identified in Renaissance "high magic" and nine-
as a major characteristic of modernism teenth-century Theosophy or the impor-
itself. tance of Swedenborg for spiritualism.
The articles that follow demonstrate
T he articlespublishedhereintroduce the essential role that the mystical and
a number of names and terms from occult traditions (and combinations of
the esoteric tradition, in addition to the the two) played in art and art theory
more general categories "mysticism" from Symbolism through Surrealism.
and "occultism." For an overview of this Moreover, these studies bring to light
vast field, the reader should consult new unifying threads that connect one
Robert Galbreath's excellent glossary in modern movement to another and reveal
the Los Angeles catalogue, as well as his the continued relevance of mystical
earlier publications on the history of Romantic thought for modernism. For
occultism.3 Following Galbreath, I have example, from the perspective of mysti-
adopted the term "occultism" to include cism, the Neoplatonic quest for the reat-
all types of what Webster's Third New tainment of a state of unity between self
International Dictionary defines as and an absolute One appears in Dorothy
"matters regarded as involving the Kosinski's text in the theories of the
action or influence of supernatural Romantic writer Ballanche and in those
agencies or some secret knowledge of of the occultist Papus (pseudonym of
them." The sense of the hidden links Gerard Encausse).4 That mystical Neo-
occultism to esotericism, a word also platonism is central to Symbolism as
used widely in the later nineteenth and well is clear from Mark Cheetham's
early twentieth centuries to refer to such study of Gauguin's art theory.
occult pursuits as alchemy, the Cabala, In its popularearly-twentieth-century
magic, astrology, Rosicrucianism, spiri- guise as mystical monism, the Neopla-
tualism, and Theosophy. tonic search for unity of self and world
Mysticism, on the other hand, is a (i.e., spirit and matter) appears among
more specific term defined in Webster's the Berlin Dadaists (Timothy Benson's
as "the experience of mystical union or article) and in Max Weber and the
direct communion with ultimate real- Stieglitz circle in New York (my own
Spring 1987 5
text). Even M.E. Warlick's discussion of Ihrer Symbolik (1914) was central to science and religion."3 Conversely, a
alchemy draws on the frequent interpre- Ernest's understanding of the alchemi- number of scientists were imbued with a
tation of alchemy as a quest for mystical cal processes he evoked in his collage mystical outlook, as in the case of Bal-
revelation of self. Indeed, the connection novel." four Stewart and P. G. Tait, whose
of Surrealism to monism and a Roman- Timothy Benson provides a fascinat- Unseen Universeof 1875 Blavatsky cites
tic rediscovery of a lost unity has been ing look into the thinking of Berlin Da- repeatedly in Isis Unveiled.'" In addition
made in the past by Michel Carrouges daists, who avidly discussed Otto to the psychologists interested in psychi-
and by Anna Balakian, who has high- Gross's psychology of the unconscious, cal research (such as Frederic W. H.
lighted Breton's debt to the mystical along with the theories of Alfred Adler, Myers, Pierre Janet, Theodore Flour-
magic of the occultist Eliphas L6vi.5 Ernst Kretschmer,and Freud. In Berlin, noy, Cesare Lombroso, and William
Of the occult sources reappearing psychology blended readily with anar- James), an impressive number of nine-
from movement to movement, Levi chism and mysticism to produce the new teenth-century scientists were convinced
(pseudonymof the Abbe Alphonse Louis conception of modern consciousness that spiritualists: the biologist Alfred Russel
Constant) is one of the most frequently supported Hausmann's Dada activities. Wallace (Darwin's collaborator), the
cited. Mentionedalso by Kosinski,Levi's The joining of psychology and mysti- chemist William Crookes, the astron-
ideas are central to Vojt6chJirat-Wasiu- cism in the works of the British mystic omers Camille Flammarion and J. C. F.
tynfski'sinterpretationof Gauguin'sSelf- socialist Edward Carpenter produced a Z*llner, and the physicist Oliver Lodge,
Portrait with Halo and Snake as an quite different notion of consciousness, to name some of the most prominent
image of a magus. Now that Balakian "cosmic consiousness,"which had a pro- figures.'5 Closer to the art world, Seu-
has established Levi's relevance for Bre- found effect in early-twentieth-century rat's mentor in psychophysics, Charles
ton, the discovery of the occult lineage America and England (as I discuss in Henry, not only drew on the mathemati-
from Gauguin to Breton suggests a new my essay). cal aesthetics of the Polish mathemati-
line of continuity from Symbolism to The first artists and writers with a cian and occultist Hoene Wronski but
Surrealism. double interest in psychology and mysti- also followed with interest the activities
Nor did this continuity break during cism-occultism are to be found in the of the prominent French spiritualist
the Cubist era in France. Papus (cited Symbolist era. As Filiz Burhan has Colonel de Rochas.'6
by Kosinski) was a major collaborator demonstratedso convincingly in her dis-
on the spiritualist periodicalof 1909-14, sertation, "Vision and Visionaries: s the articles publishedboth here
La Vie Mystbrieuse, to which the Nineteenth-Century Psychological The- and in the Los Angeles catalogue
Cubists' colleagues Eugene Figuiere and ory, the Occult Sciences, and the For- demonstrate, historians are increasingly
Alexandre Mercereau contributed. In mation of the Symbolist Aesthetic in recognizing the prevalence of mysticism
addition, Edouard Schur6, the author of France," contemporary exploration of and occultism in late-nineteenth- and
Les GrandsInitibs (1889), and the Rosi- levels of consciousness by psychologists early-twentieth-century culture. The
crucian Sar P61adan(both discussed by stimulated the mystical and occult con- mystical and occult context of French
Kosinski and Jirat-Wasiutyfiski) re- cerns Symbolist writers inherited from Symbolism has been most thoroughly
mained active through the first two such precursorsas Baudelaire and Bal- examined, and these studies serve as
decades of the twentieth century. zac.9 Citing Burhan, as well as Debora vital sources and models for historiansof
Jacques Villon and other Puteaux Silverman's study of the relationship of early-twentieth-century modernism.
Cubists read P61adan's translation of Art Nouveau to contemporary French Scholars of literature were the first to
Leonardo's Trattato, and Guillaume neurology,'0 Cheetham's article points focus on these themes, and two of the
Apollinaire wrote P61adan'sobituary for to changing psychological notions of the best texts on the subject are Alain Mer-
Mercure de France in 1918.6 Schur6's self as a factor in the resurgence of cier's Sources esoteriques et occultes de
Grands Initibs reached its twenty-fifth Neoplatonism in late-nineteenth-cen- la pobsie symboliste (1870-1914) and
edition in 1912, and unquestibnably,the tury France. Likewise, both Kosinski Jean Pierrot's Decadent Imagination,
mystical and occult interpretation of and Jirat-Wasiutyfiski refer to Burhan, 1880-1900.17 In music history Roy
Orpheus to which Schur6, P61adan,and while the latter also cites Ann Murray's Howat, in Debussy in Proportion, has
Papus contributed underlies Apolli- study of the impact of Franz Anton established this composer's deep in-
naire's conception of Orphic Cubism. Mesmer's theory of magnetism on Van volvement in the esoteric tradition and
Gogh." Clearly, psychology and mysti- his use of mystical proportion systems in
specific mystical and occult cal or occult pursuits were seen in the his compositions.' For art historians,
Beyond
sources, a broader theme unifies Symbolist era as complementary routes H.R. Rookmaaker's Synthetist Art
many of the articles in this issue: that of for exploring the inner reality of self and Theories (1959) set forth clues about
pre-Freudian psychology and its close world. Symbolist sources such as Swedenborg
connection to mysticism and occultism.7 In a period in which the physical and Neoplatonism, which have been fol-
Jennifer Gibson's discussion of Breton, sciences were exploring the complex lowed up in the articles and dissertations
Masson, and the dynamic psychiatry of structure of matter beneath surface discussed above.'9 In addition, Patricia
Pierre Janet reveals the roots of Surreal- appearances, psychology suggested a Mathews's recently published study of
ism's psychic automatism in nineteenth- similar complexity within the self. The Albert Aurier's art theory and criticism
century psychologists' studies of me- new possibilities concerning both object is a seminal contribution to the intellec-
diums as recorders of the unconscious. and perceiving subject led to a profusion tual history of Symbolist art.20
M.E. Warlick notes that Max Ernst also of hypotheses about the nature of real- In the face of such evidence, no longer
relied on French psychology when he ity, some of which sound little less fan- can we accept a streamlined, secularized
used visual images from Jean Charcot's tastic than the ten- or eleven-dimen- history of modernismthat presents mod-
studies of hysteria in the last chapter of sional world of superstrings proposed in ern art as a product of those attitudes
Une Semaine de bonth. Further, War- the "supersymmetry"theories of physi- towards reality which characterize the
lick establishes that the link between cists today.2 Occultists like Madame historian's own milieu rather than that
alchemy and psychology first made by Blavatsky drew on contemporary scien- of the late nineteenth or early twentieth
the Viennese psychologist Herbert Sil- tific views on electricity and the ether to century. For example, the notion of cor-
berer in his Probleme der Mystik und bolster the case for the unification of respondences, so often presented as a

6 Art Journal
 purely aesthetic, formal issue, is deeply
rooted in the mysticism of Swedenborg
and Eliphas Levi, mediated by Baude-
laire.21 In utilizing the theory of corre-
spondences, an artist like Gauguin was
making an epistemological statement
about the relationship of self to world,
about the analogy between material and
spiritual realms and between inner and
outer realities. To the Symbolist artist,
art was relevation, and Symbolist doc-
trine, imbued as it was with mysticism
and occultism, paved the way for much
that would follow in the twentieth cen-
tury, from Cubist idealism and Stieg-
litz-circle pantheism to abstract art and
the magical world of Surrealism.
On a broadercultural scale, several of
the following articles demonstrate that
an interest in the mystical and occult
was often linked closely to liberal poli-
tics and liberated sexual views. Rose-
Carol Washton Long's study of Kan-
dinsky and anarchism, in particular,
focuses on this issue. Clearly, question-
ing the nature of reality and self was
central to the late-nineteenth-century
reaction against reigning positivistic
science and the status quo in politics and
morality. The sociologist Edward Tirya-
kian has argued that the role of "esoteric
culture" has been vital at such moments
of "shifting cultural paradigms":
The particular thrust of efficacy of
esoteric culture lay, I would sug-
gest, in the exoteric culture having
what may be characterized as a
loss of confidence in established
symbols and cognitive models of
reality, in the exhaustion of insti-
tutionalized collective symbols of
identity, so to speak. There was
what may be called a "retreat
from reason into the occult"..., a
retreat ... in the sense of a reli-
gious retreat, a temporary with-
drawal for inspirational medita-
tion which provides a restoring of
psychic energy to be used in re-
entering everyday life with greater
vigor.22
Tiryakian's description ideally suits
the later nineteenth century and the rise
of modernism as a self-conscious move-
ment. Yet, apart from the efforts of a
small, but growing, number of historians
working in art and other areas,23recog-
nition of the role of mysticism and oc-
cultism in modernism has been ex-
tremely slow in coming. It would seem
that scholarship on modernism has been
conditioned by the spirit of seculariza-
tion that from the 1920s onward led
psychologists, for example, to distance
their discipline from earlier connections
to spiritualism. While the seculariza-
tion, the transition from "cosmic to clin-
ical," as I term it in my essay below, is
valid for the sciences, it has obscured for
historians the relevance of esoteric cul-
ture for their study of the late-nine-
teenth- and early-twentieth centuries.
As part of what Tiryakian calls a "seed-
bed cultural source of change," mysti-
cism and occultism nourished a wide
variety of innovations in art, music, lit-
erature, and dance.24We historians of
the postmodern era must be willing to
recognize their contribution.
Notes
1 See, for example: Sixten Ringbom, "Art in the
'Epoch of the Great Spiritual': Occult Ele-
ments in the Early Theory of Abstract Paint-
ing," Journal of the Warburg and Courtauld
Institutes, 29 (1966), pp. 386-418; Rose-Carol
Washton, "Vassily Kandinsky, 1909-1913:
Painting and Theory" (Ph.D. diss., Yale Uni-
versity, 1968); and Robert P. Welsh, "Mon-
drian and Theosophy," in Piet Mondrian,
1872-1944: A Centennial Exhibition, exh. cat,
New York, Solomon R. Guggenheim Museum,
1971, pp. 35-52.
2 The Spiritual in Art: Abstract Painting 1890-
1985, exh. cat., Los Angeles, Los Angeles
County Museum, November 23, 1986-March
8, 1987; Chicago, Museum of Contemporary
Art, April 17-July 19, 1987; The Hague,
Gemeentemuseum, September 1-November
22, 1987.
3 See, for example: Robert Galbreath, "The His-
tory of Modern Occultism: A Bibliographical
Survey," Journal of Popular Culture, 5 (Win-
ter 1971), pp. 726-54; and "Explaining Mod-
ern Occultism," in The Occult in America:
New Historical Perspectives, ed. Howard Kerr
and Charles L. Crow, Urbana, Ill., 1983, pp.
11-33.
4 On Neoplatonism and esoteric sources in
Romantic thought, see: M.H. Abrams, Natural
Supernaturalism: Tradition and Revolution in
Romantic Literature, New York, 1971, pp.
146-63. On the continuity from mystical
Romanticism through Surrealism, see: Linda
Dalrymple Henderson, "Mysticism, Romanti-
cism, and the Fourth Dimension," in Los
Angeles County Museum (cited n. 2), pp. 219-
37.
5 See: Michel Carrouges, "Esoterism and Sur-
realism" (1947), in AndrbBreton and the Basic
Concepts of Surrealism, trans. Maura Pren-
dergast, University, Alabama, 1974, pp. 10-66;
and Anna Balakian, Andrb Breton: Magus of
Surrealism, New York, 1971, pp. 34-39.
6 Dora Vallier, Jacques Villon: Oeuvres de 1897
a 1956, Paris, 1957, p. 62. P6ladan's translation
appeared as Leonard da Vinci, Trait&de la
peinture, traduit integralement pour la prem-
ibre fois en franCais sur la codex Vaticinus
(Urbinas) 1270, trans. J. PNladan,Paris, 1910.
Apollinaire's tribute to Peladan was published
under "Echos" in Mercure de France, 120 (16
July 1918), pp. 372-73. I am grateful to
Willard Bohn for bringing this text to my
attention.
7 On this subject, which is largely ignored in
official histories of psychology, see: Lancelot
Law Whyte, The Unconscious Before Freud,
New York, 1960; and Henri F. Ellenberger,
The Discovery of the Unconscious: The His-
tory and Evolution of Dynamic Psychiatry,
New York, 1970. Ellenberger emphasizes the
continuity between early-nineteenth-century
magnetism and hypnotism and the theories of
Pierre Janet and others at the end of the
century. On psychical research and spiritual-
ism, see: Janet Oppenheim, The Other World:
Spiritualism and Psychical Research in
England, 1856-1914, Cambridge, Eng., 1985;
and R. Laurence Moore, In Search of White
Crows: Spiritualism, Parapsychology, and
American Culture, New York, 1977.
8 Silberer's association of alchemy and psychol-
ogy considerably preceded Jung's far better
known discussions of the subject. On Jung and
alchemy (as well as other aspects of occultism
and mysticism), see: James Webb, in The
Occult Establishment, La Salle, Ill., 1976, ch.
6. Webb also provides an overview of Freud's
connections to occultism and mysticism at vari-
ous points in his career. On Jung and occultism,
see also the volume Psychology and the Occult,
drawn from The Collected Worksof C.J. Jung,
trans. R.F.C. Hull, Princeton. 1977.
9 Filiz Eda Burhan, "Vision and Visionaries:
Nineteenth-Century Psychological Theory, the
Occult Sciences, and the Formation of the
Symbolist Aesthetic in France" (Ph.D. diss.,
Princeton University, 1979). Burhan's study
provides a useful clarification of the Symbol-
ists' appreciationof "science," a term that bore
a wide range of meanings in this period. Beyond
the psychology of the unconscious, which I
emphasize here, the psychophysics of Charles
Henry, for example, also blended readily with
mysticism and occultism to support the central
Symbolist tenet of synaesthesia (see n. 16
below).
Burhan's dissertation, along with those of
Silverman and Murray (cited nn. 10, 11), was
omitted from the listing of dissertations in the
"Bibliography: Symbolist Art, 1974-1984"
published in the "Symbolist Art and Litera-
ture," issue of Art Journal, 45 (Summer 1985).
Although articles by Vojt6ch Jirat-Wasiu-
tynfskiare included in that bibliography, it also
omits his 1975 Princeton dissertation, "Paul
Gauguin in the Context of Symbolism," pub-
lished in 1978 in Garland's Outstanding Dis-
sertations in the Fine Arts series.
10 Debora Leah Silverman, "Nature, Nobility,
and Neurology: The Ideological Origins of 'Art
Nouveau' in France, 1889-1900" (Ph.D. diss.,
Princeton University, 1983).
11 Ann H. Murray, "Mesmeric Theory as an
Interpretive Tool in Comprehending the Style
and Imagery of Vincent van Gogh" (Ph.D.
diss., Brown University, 1974).
12 See, for example: Paul Davies, Superforce: The
Search for a Grand Unified Theory ofNature,
New York, 1984.
13 See: Helena Petrovna Blavatsky, Isis Unveiled:
A Master Key to the Mysteries of Ancient and
Modern Science and Theology, 2 vols., New
York, 1877. A patchwork quilt drawn from a
huge variety of occult and scientific sources,
Isis Unveiled is a fascinating record of the
Spring 1987 7
 nonpositivistic science and scientists deemed evidence for the importance of mysticism for
acceptable by Blavatsky and her colleagues. modern expressionin Men Against Time:Nico-
las Berdyaev, T.S. Eliot, Aldous Huxley, and
14 Balfour Stewart and P. G. Tait, The Unseen
C.G. Jung, Lawrence, Kansas, 1982. Wood
Universe; or, Physical Speculations on a
sees mysticism and "spatialization" as the
Future State, London, 1875.
major methods by which the four antitemporal-
15 Most of these figures are discussed in Oppen- ists he discusses (and others) sought to escape
heim (cited n. 7). from the relentless march of historical time.
16 Burhan (cited n. 9), pp. 37-38. Henry's eso- 24 In addition to the musicians cited in n. 18 and
teric side is also discussed by Jos6 A. Argiielles the French authors noted above, the list of
in Charles Henry and the Formation of a writers who drew on mysticism or occultism
Psychophysical Aesthetic, Chicago, 1972. includes August Strindberg, Thomas Mann,
William Butler Yeats, James Joyce, D.H. Law-
17 Alain Mercier, Les Sources eisotiriques et
rence, and Upton Sinclair. See: Martin Ebon,
occultes de la pobsie symboliste (1870-1914),
They Knew the Unknown World, New York,
2 vols., Paris, 1969, 1974 (the second volume
1971. On Joyce, see: William York Tindall,
deals with EuropeanSymbolism); Jean Pierrot,
The Decadent Imagination, 1880-1900, Chi- "James Joyce and the Hermetic Tradition,"
Journal of the History of Ideas, 15 (January
cago, 1981. John Senior's The Way Down and
Out in Symbolist Literature, Ithaca, N.Y., 1954), pp. 23-39; and for Lawrence, see my
article in this Art Journal issue. Gibbons (cited
1959, was one of the first overviews of this
n. 23) adds T.S. Eliot and Ezra Pound to this
subject. list. Among the pioneers of modern dance,
18 Roy Howat, Debussy in Proportion: A Musical many of whom sought to capture a cosmic
Analysis, Cambridge, 1983. There is much to rhythm, Ruth St. Denis was a mystic whose
be done in the history of music in this area, dances grew out of her exploration of Eastern
since, in addition to Debussy, a numberof other thought and other spiritual sources. See:
musicians of overtly occult or mystical persua- Suzanne Shelton, Divine Dancer: A Biography
sion come to mind, such as Alexander Scriabin of Ruth St. Denis, New York, 1981.
and Gustav Holst. Like Debussy, Erik Satie
was associated with the Rosicrucian P61ladanin Linda Dalrymple Henderson,
the early 1890s. In addition, Frederick Delius, Associate Professor of Art History at
who was close to Gauguin and his circle in the The University of Texas at Austin, is
same period, actually collaborated with the the author of The Fourth Dimension
occultist Papus on a publication entitled Ana- and Non-Euclidean Geometry in
tomie et physiologie de I'orchestre, Paris, Modern Art (1983), as well as
1894. See: Lionel Carley, Delius: The Paris numerous articles and an essay in the
Years, London, 1975, pp. 34-35. Arnold Los Angeles County Museum's
Schoenberg was an admirerof Swedenborg and exhibition catalogue The Spiritual in
described "musical space" in terms of Sweden-
Art: Abstract Painting, 1890-1985
borg's vision of heaven. See: Schoenberg, Style
and Idea, New York, 1950, p. 113. (1986).
19 Rookmaaker's original text has been repub-
lished as Gauguin and Nineteenth-CenturyArt
Theory, Amsterdam, 1972.
20 Patricia Townley Mathews, Aurier's Symbol-
ist Art Criticism and Theory, Ann Arbor,
1986. Another valuable contribution to this
field is Caroline Boyle-Turner'sPaul Shrusier,
Ann Arbor, 1983. See also the recent article by
Janis Bergman-Carton, "The Medium is the
Medium: Jules Bois, Spiritualism, and the
Esoteric Interests of the Nabis," Arts Maga-
zine, 61 (December 1986), pp. 24-29, which
grew out of work in a seminar at The University
of Texas.
21 For this fuller view, see, for example: Burhan
(cited n. 9), pp. 128-48; and Mathews (cited n.
20), pp. 28-38.
22 Edward A. Tiryakian, "Toward the Sociology
of Esoteric Culture," in On the Margin of the
Photographic Credits:p. 24 (Figs. 4, 5),
H. Roger Viollet;p. 25, JosephSzaszfa;p.
Visible: Sociology, the Esoteric, and the 32, InternationalMuseumofPhotography
Occult, ed. Edward A. Tiryakian, New York, at George EastmanHouse; p. 42 (Fig. 6),
1974, pp. 274-75.
Hilla von Rebay Foundation, Green
23 Two additional sources outside the field of art Farms,Conn. (JosephSzaszfa);p. 47, Jirg
history should be mentioned. Tom Gibbons has P. Anders,Berlin;pp. 63 (Fig. 1), 65 (Fig.
argued that modernism is deeply indebted to 5), 67 (Fig. 8), 68 (Fig. 11),EditionsTradi-
occultism in Rooms in the Darwin Hotel: Stud- tionnelles, Paris; pp. 65 (Figs. 3, 4), 66,
ies in English Literary Criticism and Ideas,
67 (Fig. 9), 68 (Fig. 12), 69, 70, 71, Yale
1880-1920, Nedlands, Western Australia,
UniversityLibrary.
1973. Douglas Kellogg Wood provides further

8 Art Journal