I have been reviewing some of the work of Martinus, the dutch mystic. He created very interesting artwork that reveal his spiritual revelations in of themselves. Some but not all of his art is reminiscent of the "healing art"Hilma af Klint and Emma Kunz, who are both worth investigating as well. In terms of spiritual science, Martinus and his "Third Testament" writings are supposed to be on par with Rudolf Steiner, Styllianos (Daskalos) & Beinsa Duono.
Symbols: https://www.martinus.dk/en/online-library/symbols/
Books: https://www.martinus.dk/en/online-library/ttt/
Articles: https://www.martinus.dk/en/online-library/ttt/index.php?mode=artikelliste
Love for all life is a key element of Martinus ’ optimistic and comprehensive worldview, offering modern people a logically founded framework to understand life and one's own life within.
Martinus spent 60 years of his life writing down and conveying the worldview he first saw during his spiritual experiences as a 30-year-old.
Later, he described these experiences as a ”cosmic initiation ” that enabled him to ” ... not glimpses, but, in a permanently awake day consciousness state, to see all the spiritual forces behind the physical world, invisible causes, eternal world laws, basic energies, and basic principles ”. The mystery of existence was no longer a mystery to him, he was ” ... become conscious in the life of the universe ” as he puts it.
Martinus decided late in his life that the entire work should carry the overall title The Third Testament. In doing so, he wanted to say that an important part of his work consisted in reconciling the message of love and tolerance of Christianity and other religions with a modern scientific attitude".
Posted above are just a few of the 100 symbols Martinus created.
Symbols: https://www.martinus.dk/en/online-library/symbols/
Books: https://www.martinus.dk/en/online-library/ttt/
Articles: https://www.martinus.dk/en/online-library/ttt/index.php?mode=artikelliste
Love for all life is a key element of Martinus ’ optimistic and comprehensive worldview, offering modern people a logically founded framework to understand life and one's own life within.
Martinus spent 60 years of his life writing down and conveying the worldview he first saw during his spiritual experiences as a 30-year-old.
Later, he described these experiences as a ”cosmic initiation ” that enabled him to ” ... not glimpses, but, in a permanently awake day consciousness state, to see all the spiritual forces behind the physical world, invisible causes, eternal world laws, basic energies, and basic principles ”. The mystery of existence was no longer a mystery to him, he was ” ... become conscious in the life of the universe ” as he puts it.
Martinus decided late in his life that the entire work should carry the overall title The Third Testament. In doing so, he wanted to say that an important part of his work consisted in reconciling the message of love and tolerance of Christianity and other religions with a modern scientific attitude".
Posted above are just a few of the 100 symbols Martinus created.
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Emma Kunz: The artist and healer who may have predicted the atomic bomb
https://english.elpais.com/culture/2022-03-02/emma-kunz-the-artist-and-healer-who-may-have-predicted-the-atomic-bomb.html
Emma Kunz (1892-1963), a Swiss artist and healer, is recognized for her intricate geometric drawings, which she used as healing tools rather than art. Despite never considering herself an artist, Kunz's works have gained significant posthumous recognition. Some believe her drawing "No. 20," created during World War II, may have predicted the atomic bomb. Her work, deeply influenced by her spiritual and holistic practices, is now being re-examined within contemporary art contexts, emphasizing the intersections of art, healing, and esoteric knowledge.
Download a collection of her art HERE
https://english.elpais.com/culture/2022-03-02/emma-kunz-the-artist-and-healer-who-may-have-predicted-the-atomic-bomb.html
Emma Kunz (1892-1963), a Swiss artist and healer, is recognized for her intricate geometric drawings, which she used as healing tools rather than art. Despite never considering herself an artist, Kunz's works have gained significant posthumous recognition. Some believe her drawing "No. 20," created during World War II, may have predicted the atomic bomb. Her work, deeply influenced by her spiritual and holistic practices, is now being re-examined within contemporary art contexts, emphasizing the intersections of art, healing, and esoteric knowledge.
Download a collection of her art HERE
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Emma Kunz: The Researcher Who Refused to Become a Guru
https://www.frieze.com/article/emma-kunz-researcher-who-refused-become-guru
She considered herself a researcher, believing her work would be understood in the 21st century.
"To draw, she employed big sheets of graph paper. The paper was usually one square metre, on which she drew patterns using colour crayons. After a period of deep concentration, an ordered system of dots appeared in her mind. Then, she used a special pendulum as a sort of focusing device to discern the pattern of lines and shapes. All of this was done in one sitting, sometimes for long hours until the work was finished and she was on the verge of collapse. She would follow with an explanation, sometimes a few hours long, but she deliberately blocked any attempts to make notes. She did not want to distort her message by fixing it with written words."
Download more of the Kunz collection HERE
https://www.frieze.com/article/emma-kunz-researcher-who-refused-become-guru
She considered herself a researcher, believing her work would be understood in the 21st century.
"To draw, she employed big sheets of graph paper. The paper was usually one square metre, on which she drew patterns using colour crayons. After a period of deep concentration, an ordered system of dots appeared in her mind. Then, she used a special pendulum as a sort of focusing device to discern the pattern of lines and shapes. All of this was done in one sitting, sometimes for long hours until the work was finished and she was on the verge of collapse. She would follow with an explanation, sometimes a few hours long, but she deliberately blocked any attempts to make notes. She did not want to distort her message by fixing it with written words."
Download more of the Kunz collection HERE
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Hilma af Klint
https://hilmaafklint.se/about-hilma-af-klint/
Hilma af Klint, along with Anna Cassel, Cornelia Cederberg, Sigrid Hedman, and Mathilda Nilsson, formed "The Five," a group deeply engaged in spiritual exploration through séances and automatic writing. They believed they communicated with higher spirits, receiving messages that they transcribed into drawings. In 1907, af Klint received a directive to lead the group, but the others resisted, leading to its dissolution. This pivotal moment led af Klint to focus on her most significant body of work, "The Paintings for the Temple," which she believed were divinely inspired. These works, abstract and non-figurative, were far removed from her more conventional paintings, which provided her primary income. Her esoteric paintings remained largely unknown during her life, shown only within spiritual contexts, and were not widely recognized until decades after her death. A pivotal moment in her posthumous recognition came in 1986 when her work was featured in the Los Angeles County Museum of Art’s exhibition, "The Spiritual in Art: Abstract Painting 1890-1985." Today, af Klint's visionary works are celebrated globally, with exhibitions in major museums, highlighting her unique approach to art as a spiritual and philosophical endeavor. The Hilma af Klint Foundation acknowledges her profound connection to Anthroposophy, which significantly influenced her worldview and artistic creations.
View here artwork here:
https://www.wikiart.org/en/hilma-af-klint/all-works#!#filterName:all-paintings-chronologically,resultType:masonry
Or Download her collection HERE
https://hilmaafklint.se/about-hilma-af-klint/
Hilma af Klint, along with Anna Cassel, Cornelia Cederberg, Sigrid Hedman, and Mathilda Nilsson, formed "The Five," a group deeply engaged in spiritual exploration through séances and automatic writing. They believed they communicated with higher spirits, receiving messages that they transcribed into drawings. In 1907, af Klint received a directive to lead the group, but the others resisted, leading to its dissolution. This pivotal moment led af Klint to focus on her most significant body of work, "The Paintings for the Temple," which she believed were divinely inspired. These works, abstract and non-figurative, were far removed from her more conventional paintings, which provided her primary income. Her esoteric paintings remained largely unknown during her life, shown only within spiritual contexts, and were not widely recognized until decades after her death. A pivotal moment in her posthumous recognition came in 1986 when her work was featured in the Los Angeles County Museum of Art’s exhibition, "The Spiritual in Art: Abstract Painting 1890-1985." Today, af Klint's visionary works are celebrated globally, with exhibitions in major museums, highlighting her unique approach to art as a spiritual and philosophical endeavor. The Hilma af Klint Foundation acknowledges her profound connection to Anthroposophy, which significantly influenced her worldview and artistic creations.
View here artwork here:
https://www.wikiart.org/en/hilma-af-klint/all-works#!#filterName:all-paintings-chronologically,resultType:masonry
Or Download her collection HERE
Hilma af Klint Foundation
About - Hilma af Klint Foundation
About Hilma af Klint (1862-1944) is one of Sweden’s most esteemed artists. Today she is celebrated all over the world. Born in Stockholm, Hilma af Klint studied at the city’s Royal Academy of Fine Arts, graduating with honours in 1887. She established herself…
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