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(Title of the Thesis)* THE FRINGES OF IMMORTALITY: A GOODLY COMPANY AND ARTISTIC COLLABORATIONS IN VISIONARY ART 1880-1930 by Elaine Margaret Atkinson A thesis submitted to the Department of Art In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (July, 2010) Copyright © Elaine Margaret Atkinson, 2010 Abstract My dissertation, The Fringes of Immortality: A Goodly Company and Artistic Collaborations in Visionary Art 1880-1930 engages with fluctuating and often intermingling concepts of spirituality that took place in late-nineteenth and early- twentieth-century England. My discussion examines mediumistic visual representation inspired by interest in modern Spiritualism and modern Theosophy and takes the form of two case studies that focus on the work of visionary artists, Georgiana Houghton (1814- 1884) and Ethel le Rossignol (1874 – 1970) both of whom believed that they were the recipients of information disclosed by disembodied entities. My study reconstructs possible meanings embedded in mediumistic images to disrupt longstanding artistic hierarchies that label visionary art as marginal. ii Acknowledgements Thank you fabulous Janice Helland! You have been my steadfast support throughout this process, no matter what. And there were plenty of WHATS!? I want to extend a warm thanks to Cathleen Hoeniger who fostered my fondness for Simone Martini’s paintings. Thanks to my friends, Janice Helland, Krista Bennett (Lou), John Potvin (Johnny), Barb Hunt, Ravi, Ingrid, Mary Percy (Inga), Jeannette Stark, Kellye Crockett, Sharon Montague-Jackson, Keri Cronin, GiGi Burke, Marc Kirouac, Julie (Jewels) Fiala and Tadpole, for their warmth, wisdom and laughter. Thanks to the staff at the Ferris Hodgett Library at Sir Wilfred Grenfell College Memorial University for their consistent support. Special thanks to Heather Strickland and Shanda Williams. Thanks to my colleague and friend Gerard Curtis for his support during my first years as a professor. I am grateful for the support of the Social Sciences and Humanities Research Council and the Bader Fellowship. I want to extend my thanks to my Thesis Examining Committee, Cynthia Hammond (Concordia University), Jane Errington (Department of History), Pamela Dickey Young (Department of Religion), Cathleen Hoeniger, Linda Jessup and Janice Helland. Finally, thank you to my new friend Rose, Rosa, Silva. I dedicate this dissertation to my beloved family: both this side and the other. I love you. iii Table of Contents Abstract ............................................................................................................................................ ii Acknowledgements ......................................................................................................................... iii Table of Contents ............................................................................................................................ iv List of Figures .................................................................................................................................. v Chapter 1: Introduction .................................................................................................................... 1 Chapter 2: ‘Twaddle’? Spiritualism, Theosophy and the Fairy in Late-Nineteenth and Early- Twentieth-Century Britain .......................................................................................... 24 Chapter 3: Art and the Supernatural .............................................................................................. 48 Chapter 4: Healing Vibrations through Visionary Art ................................................................... 92 Chapter 5: Evolution and Exegesis .............................................................................................. 160 Conclusion ................................................................................................................................... 249 Bibliography ................................................................................................................................ 253 Illustrations .................................................................................................................................. 292 iv List of Figures Figure 3-1: Executed through the mediumship of Mrs. E.J. French. Spirit 50 Flower, 1861, coloured pencil. Reproduced from Benjamin Coleman, Spiritualism in America: with Fac-similes of Spirit Drawings and Writing, 1861. Figure 3-2: Holman Hunt. Triumph of the Innocents, 1876, oil on canvas. Tate 57 Gallery, London. Reproduced from .bridgemanartondemand.com. Figure 3-3: William Blake. Death’s Door, 1805, engraving. Robert Blair The 60 Grave. Reproduced from www. Pietafinart.com. Figure 3-4: Evelyn De Morgan. The Passing of the Soul at Death c. 1917- 62 1918, oil on canvas. London, De Morgan Foundation. Reproduced from www.bridgemanart.com. Figure 3-5: Gabriel Dante Rossetti. The Blessed Damozel, c. 1874, oil on 63 canvas. Fogg Museum of Art. Reproduced from .liverpoolmuseums.org.uk. Figure 3-6: Dante Gabriel Rossetti. How They met Themselves, 1864, 64 watercolour on paper. Fitzwilliam Museum. Reproduced from www.ArtSunLight.com. Figure 3-7: George Frederic Watts. Denunciation of Adam and Eve, 1873, oil 66 on panel. Watts Gallery. Reproduced from .wattsgallery.com. Figure 3-8: George Frederic Watts. Creation of Eve, c. 1881-82, oil on 68 canvas. Watts Gallery. Reproduced from .wattsgallery.com. Figure 3-9: Fernand Desmoulin. Spirit Portrait, c. 1900, colour pencil on 79 paper. Musée Fernand Desmoulin. Reproduced from musees-aquitaine.com. Figure 3-10: Fernand Desmoulin. Spirit Portrait, c. 1900, graphite on paper. 80 Musée Fernand Desmoulin. Reproduced from musees-aquitaine.com. Figure 3-11: Bertram Park, 1920. Black and white photograph, 1920. 87 Reproduced from Eve (January 1920). v Figure 3-12: Hargrave Martin (Candida). Spirit, 1920. Ink on paper. 89 Reproduced from Sketch (1920). Figure 3-13: Hargrave Martin (Candida). Spirit Picture, 1920. Ink on paper. 90 Reproduced from Eve (1920) Figure 4-1: Alma Rumball. Fuchsia Joy, 1960, coloured pencil on paper. 96 Privately owned. Reproduced from a card. Figure 4-2: Georgiana Houghton. The Omnipresence of the Lord, 1862, 105 watercolour on paper. Victorian Spiritualist’s Union Melbourne, Australia. Reproduced with permission. Figure 4-3: Georgiana Houghton. The Flower and Fruit of Henry Lenny, 125 1861, watercolour on paper. Victorian Spiritualist’s Union Melbourne, Australia. Reproduced with permission. Figure 4-4: Georgiana Houghton. The Flower of Warrand Houghton, 1861, 126 watercolour on paper. Victorian Spiritualist’s Union Melbourne, Australia. Reproduced with permission. Figure 4-5: Georgiana Houghton. The Flower of William Harmon Butler, 128 1861 and The Flower of Helen Butler 1867, watercolour on paper. Victorian Spiritualist’s Union Melbourne, Australia. Reproduced with permission. Figure 4-6: Georgiana Houghton. The Holy Trinity, 1861, Watercolour on 132 paper. Victorian Spiritualist’s Union Melbourne, Australia. Reproduced with permission. Figure 5-1: Ethel Le Rossignol. Spirit House, c. 1920-29, graphite on paper. 168 Reproduced from Le Rossignol, A Goodly Company, 1958. Figure 5-2: Ethel Le Rossignol. Unity of Love: Man and Woman’s Form in 173 One, c. 1920-1929, graphite on paper. Reproduced from Le Rossignol, A Goodly Company, 1958. vi Figure 5-3: Ethel Le Rossignol. Workers in the Sphere of Holiness c. 1920- 175 1929, graphite on paper. Reproduced from Le Rossignol, A Goodly Company, 1958. Figure 5-4: Ethel Le Rossignol. The Power of Thought, The House not Made 177 With Hands, c. 1920-1929, graphite on paper. Reproduced from Le Rossignol, A Goodly Company, 1958. Figure 5-5: Ethel Le Rossignol. The Unloving Soul after Death, c. 1920-29 181 Gouache/watercolour on paper. Reproduced from Le Rossignol, A Goodly Company, 1958. Figure 5-6: Ethel Le Rossignol. The Mystery of Birth and Spiritual Love, c. 191 1920-29, Gouache/watercolour on paper. Reproduced from Le Rossignol, A Goodly Company, 1958. Figure 5-7: Ethel Le Rossignol. The Lover of all Men is now Freed from the 197 Body, c. 1920-29, Gouache/watercolour on paper. Reproduced from Le Rossignol, A Goodly Company, 1958. Figure 5-8: Ethel Le Rossignol. The Four Messengers, c. 1920-29, 198 Gouache/watercolour on paper. Reproduced from Le Rossignol, A Goodly Company, 1958. Figure 5-9: Ethel Le Rossignol. The Rose of Unity c. 1920-1929, 200 Gouache/watercolour on paper. Reproduced from Le Rossignol, A Goodly Company, 1958. Figure 5-10: Ethel Le Rossignol. The Creative Power of the Spirit, c.1920- 203 1929, Gouache/watercolour on paper. Reproduced from Le Rossignol, A Goodly Company, 1958. Figure 5-11: Ethel Le Rossignol. The Sight of the Master, c. 1920-1929, 204 Gouache/watercolour on paper. Reproduced from Le Rossignol, A Goodly Company. Figure 5-12: Ethel Le Rossignol. The Nine entering Reality-in-Operation, c. 206 1920-1929, Gouache/watercolour on paper. Reproduced from Le Rossignol, A Goodly Company, 1958. vii Figure 5-13: Ethel Le Rossignol. The Master as Distributor, c. 1920-1929, 210 Gouache/watercolour on paper. Reproduced from Le Rossignol, A Goodly Company, 1958. Figure 5-14: Ethel Le Rossignol. The Unsealing of the Mysteries, c. 1920- 211 1929, Gouache/watercolour on paper. Reproduced from Le Rossignol, A Goodly Company, 1958. Figure 5-15: Ethel Le Rossignol. Consummation, c. 1920-1929 212 Gouache/watercolour on paper. Reproduced from Le Rossignol, A Goodly
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