From 1996 onwards,
Dutch art historians Marty Bax, Andréa Kroon and Audrey Wagtberg
Hansen have realized various projects aimed at drawing attention to the
relationship between ‘art & western esotericism’. Because our goals have
largely been realized, we feel the time has come to focus on other lacunas in
our knowledge of art history. This column therefore marks the end of our joint ‘lobby’
for this fascinating subject.
Art and religion are
closely related. Like the main world religions, lesser known religious currents
have also provided artists with inspiration. Freemasonry, spiritualism,
theosophy and anthroposophy for instance, were relevant to the development of
modern art. Within the academic Study of Religions, these organisations are
seen as part of western
esotericism: an umbrella term for a group of related currents, which date
back to the gnosis of Antiquity, the hermetic philosophy of the Renaissance and
the ‘occult’ sciences (alchemy, magic, astrology). 
During the 19th century the progress of
industry and science went hand in hand with the process of secularisation; people
no longer found the answers to life’s big questions in their traditional (Christian)
faith, and turned to new religious, philosophical and ideological currents. Around
1900 especially the intellectual avant-garde found itself attracted to the
organizations like freemasonry and theosophy. Esoteric symbolism found its way
to the arts through the work of these members. The membership of esoteric
currents by artists and its relevance to their work was openly mentioned in
(Dutch) newspapers at the time. Joséphin Péladans occult Salons de la Rose + Croix lay fresh in art critics memories; Piet Mondriaans
interest in theosophy was widely known; and architect Karel de Bazel made the
headlines with this design for the temple of his masonic lodge in The Hague. 
The
start of World War II marked a sudden end to this openness. The Nazi regime
ordered the abolishment of many esoteric organisations and confiscated their
buildings and possessions. The Nazis also directed an intensive propaganda
campaign against freemasonry and related organisations, insinuating they were
part of a Jewish (‘Zionist’) conspiracy. Fear of persecution prompted many
families, including artists, to destroy their membership papers and other
documents between 1940 and 1945.
After
the war, esoteric organisations were ‘damaged’ on many levels: after enduring
years of negative propaganda and the loss of many members in the violence of
war, they now faced a long judicial process to regain the rights to their
buildings and property from the Dutch government. This may explain why they
chose to prioritize internal matters, instead of seeking the public eye and try
to counteract prejudices. This allowed many misconceptions, sown by the Nazi regime,
to endure in the collective subconscious. Because artists archives had been
cleansed of ‘sensitive’ documents, the post war generation of art historians
often failed to recognize the influence of esoteric currents.
During
the second half of the 20th century, the term ‘esoteric’ was
increasingly associated with New Age consumer fads. For many art historians
this was a reason to shun the subject. They did not want the intellectual genius
of an admired artist to be blemished by
highlighting his or her woolly interest in the esoteric or the occult.
Other
complex factors also played a role in this process. Here lies an interesting
PhD-project into rejected knowledge, waiting for a student to pick it up. Whatever
the precise cause, while esotericism could count on the attention of the art
World before the war, the subject was largely ignored by the art historical
field after 1945.
While historians of religions had supplied clear definitions, art
historians kept confusing terms like ‘spiritualism’, ‘spiritism’, ‘mysticism’, ‘occultism’
and ‘esotericism’. The ‘family tree’ of esoteric currents and their influence
on specific currents in art remained unclear, especially to the exhibition
public. Conclusions were drawn without consulting the historical archives of
the relevant esoteric organizations and the enlightening correspondence by
artists contained within these archives was missed. A strong citation culture
amongst art historians meant, that misunderstandings would be perpetuated
instead of being corrected.
The
foundation of chairs for western esotericism at European universities, such as
the Chair for the History of
Hermetic Philosophy and Related Currents in Amsterdam, gave a strong
impulse to interdisciplinary research from the end of the 1990s onwards. But
the interest of Dutch art historians kept lagging behind international
developments.
Art historians Marijo Ariëns, Marty
Bax (previously involved in The Spiritual
in Art), Andréa Kroon and Audrey Wagtberg Hansen met in 1996 via ARIES, an
interdisciplinary study group on western esotericism, and its later international
successor, ESSWE. We have since drawn
attention to esoteric symbolism in art through both individual and joint
projects. 
Examples are: the conference Kunst
en Westerse Esoterie. Een traditie in de kunst van de 17de eeuw tot
heden (Van Gogh Museum, 1999); the start of the OVN foundation, its research projects
and conferences
including Masonic & Esoteric
Heritage. New Perspectives for Art and Heritage Policies (Dutch National
Library, 2005); research into the esoteric interests of Helene Kröller-Müller
(Kröller-Müller Museum, 2002-03); and exhibition on artist and theosophist Henri Verstijnen (1882-1940)
(Assen/Den Haag 2006-2007); the exhibition Holy Inspiration. Religion and
Spirituality in Modern Art (Amsterdam 2008); and the city guide Geheim Den Haag. Vrijmetselaarstempels en
andere esoterische gebouwen in Den Haag rond 1900 (Nieuwe
Haagsche, 2011). Bax published a dissertation on theosophy and art (Het web der schepping. Theosofie en kunst in Nederland van Lauweriks tot Mondriaan, SUN 2006), while Ariens’ dissertation explores the influence of esotericism on Picasso and the Surrealists (De wangen van de Macroposophus. Een nieuwe interpretatie van het schilderij 'Les Demoiselles d'Avignon' van Pablo Picasso). Kroon expects to finish her dissertation on The role of Dutch freemasons in the cultural and commercial exchange with Asia, 1735-1852 in 2012.
While
in the 1990s we were ‘lonely callers in the desert’, as the Dutch saying goes,
younger art historians have since studied at the chair for Hermetic Philosophy
in Amsterdam, whose interdisciplinary
approach will further broaden the boundaries of the art historical field of
study. Meanwhile, many esoteric organisations have opened up and digitalized
their historical libraries and archives, making more and more sources
accessible for art historians. The TheArtArchives are now also online,
providing international access to an important primary source.
Apparently it takes a
long time for new perspectives and research results from academic circles to
filter down to the daily practices of the art world. Exhibitions like The Perfect Medium. Photography and the
Occult (New York, 2004) and Das
Bauhaus und die Esoterik (Hamm/Wurzburg 2005) broke little new ground. Other
museums passed up on potential box office hits.
In
2006 Bax and Kroon worked together on the exhibition and publication concept Verborgen werelden. Esoterische stromingen
in de kunst, 1800-1940 (later: Geheim!).
We envisioned an exhibition introducing an overview of various esoteric
currents, their history and key figures, and exploring how specific art
currents and artists had soaked up and expressed these influences. The proposal
was picked up by the Van Gogh Museum, the Singer Museum and Boom/SUN publishers,
but budgetary matters prohibited the cooperation from materializing. 
Accepting that Holland might be too small, we
approached the large European museums in 2007 with the more internationally
orientated concept The Initiated Artist.
Art & Western Esotericism, 1800-1940, which was supported by
international experts in the field of study, the Amsterdam University Press and
the Iona Foundation. Museum managements responded with enthusiasm, but felt an
overview of esoteric currents was too ‘complex’ a subject to draw large visitor
numbers. However, several exhibitions were organized shortly after, which
discussed esotericism in ‘safe’ terms, such as spiritualism and artists
networks. Examples are: Schilders van de
Ziel. Symbolisme in Frankrijk (Laren 2007); Traces du Sacré (Paris/München 2008); Holy Inspiration. Religion and Spirituality in Modern Art
(Amsterdam 2008); Albert von Keller. Salons,
Séancen, Secession
(Zürich 2009) and Geheimgesellschaften.
Wissen Wagen Wollen Schweigen (Frankfurt 2011).
Of
course it is somewhat bittersweet to realize
that this exhibition is in many ways identical to the concept which we
circulated internationally in 2007, but the subject is now firmly ‘on the map’ in the public
and professional sphere, and is drawing large numbers of visitors. No doubt a Dutch
museum will soon dare to follow the example.
By
now, western esotericism is recognized as an integral and important aspect of
art history.
We have had a tremendous amount of fun playing a part in that process, together with many others, and can happily consider this a joint objective achieved.
So for us, this is the right moment to close the
chapter on ‘art & western esotericism’ for a while and focus on other
lacunas in art history. We will still be able to apply all the expertise
gained, but will explore and invest in other, fresh, interdisciplinary research
paths. And of course we already have new and exciting exhibitions plans on
offer. Any takers?
Contact: info@baxart.com or andrea@kroonwagtberghansen.nl.