MATISSE, THEOSOPHY, AND THE PARISIAN ALCHEMICAL REVIVAL

 MATISSE, THEOSOPHY, AND THE PARISIAN ALCHEMICAL REVIVAL


It's in this circumstance that Schwaller's oldest research has to be located. He was operating on a Hermetic studying of this Gothic cathedrals as didactic edifices--alchemical texts from rock. Back in 1913, he gave his unpublished notes Champagne; thirteen decades afterwards, without Schwaller's consent, Champagne would release Schwaller's thoughts in an elaborated and embellished form. The last form of the text, that communicates encrypted insights to the functional alchemical opus, may be recognized as a fluid amalgam of (1) Schwaller's substance about the alchemical symbolique of their cathedrals; (2) numerous emblematic digressions on the'phonetic kabbalah' adapted by the work of this profoundly erudite classicist and Hermetic philosopher, Pierre Dujols (1862-1926); also (3) the general synthesis and demonstration of Champagne himself, who furnished the illustrations. [18] Despite the'Hermetic thieving' of his job, Schwaller continued to financially encourage Champagne, working together with him about the glass opus directly through the close of the latter's lifetime. Between 1913 and 1916, Schwaller frequented the French division of the Theosophical Society and, at a far more covert fashion, engaged in the then-flourishing Parisian alchemical resurrection. [16] Following Champagne made first contact Schwaller, a covert assembly was organized during which Champagne disclosed he was actually'Fulcanelli', hinting this dual identity (along with Schwaller's following contact together ) stay a complete secret. Both agreed to start working on alchemical issues, and provided that they formed a working relationship that will span nearly twenty decades. The exclusive focus on the alliance was that the key technique behind the reds and blues of Chartres and the oldest Gothic cathedrals--that the production of alchemically stained glass. In Parisian alchemical circles, that this effort was considered as a experimentum crucis of this alchemical opus itself, tantamount to the realisation of this philosopher's stone. Beyond its stated mission, the French division of the Theosophical Society acted in many respects as a de facto nexus for its myriad occult and esoteric currents busy in Paris in the time; during those intersecting milieux, Schwaller fulfilled many crucial characters from French esotericism, a number of whom could eventually become his close collaborators from the sociopolitical, artisanal, and initiatic function he would undertake during the coming decade. The Theosophical Society not only gave Schwaller a forum in which to create his ancient comprehension of sacred science, but in addition, it supplied the philosophical and social material from which his initial foray into esoteric political could leave. L'Académie Matisse was started in Paris in 1908 and by 1910, Schwaller was tied into a female by the name of Marthe Essig, a German talking élève of Matisse who had been in control of the latter's studio. As a result, Schwaller was profoundly informed not by Matisse's experiments in color as a pure occurrence, which sought to communicate the life beyond the mere look, but also by Bergson's notion of this élan vital (the key spark or urge ). [15] In Matisse's studio, Schwaller discovered the physical universe --the world of color --traces the imperceptible'moves' of the planet. The intention of the authentic artist wasn't to catch observable phenomena, but to communicate its religious urge or élan. Since the metaphysical is not able to be sensed with no physical hint, and since the physical can't exist with no metaphysical underpinning, any strict demarcation between the two is so not possible. For Schwaller, metaphysical physical and cause impact proved ultimately sticks of a single continuum.

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