The Sun ~ Painting by Odilon Redon
A. E. Waite suggested that this card is associated with attained knowledge. The conscious mind prevails over the fears and illusions of the unconscious. Innocence is renewed through discovery, bringing hope for the future. This card is generally considered positive. It is said to reflect happiness and contentment, vitality, self-confidence and success. Sometimes referred to as the best card in Tarot, it represents good things and positive outcomes to current struggles.
Some frequent keywords used by tarot readers are:
So, we are headed into the final stretch and things are going rather well. We hit the $3,000 Mark as well as 100 Backers, yesterday! If we can keep the excitement and momentum going, you will be holding your deck in your hands in no time.
I spent this weekend revealing quite a few new cards mainly Major Arcana. The response was fabulous and quieted the doubt in my mind as to my choices. Overall, I am ecstatic and if I weren’t involved in this deck I would want it badly.
Take a chance to check out the new reveals at Facebook: Samples of Cards
So, please share this campaign with friends, loved ones and possibly retailers. You possess the power to make this idea a reality. Thanks so much for your support.
One of my absolute favorites, Jean Delville was much more political and socially aware than many of his contemporaries in the Symbolism movement. He was definitely a non-conformist and it shows quite plainly in his work.
Jean Delville (19 January 1867, Leuven – 1953) was a Belgian symbolist painter, writer, and occultist. In 1896, he founded the Salon d’Art Idealiste, which is considered the Belgian equivalent to the Parisian Rose & Cross Salon and the Pre-Raphaelite movement in London.
During the last decades of the 19th century, many people in the West reacted to the materialism and hypocrisy of the period by developing an interest in esoteric, occult and spiritual subjects. The enthusiasm for these ideas reached its peak during the 1890s, the decade when the Belgian painter and writer Jean Delville was at the height of his powers. Delville was born in the Belgian town of Louvain in 1867. He lived most of his life in Brussels, but also spent some years in Paris, Rome, Glasgow and London. He began his training at the Académie Royale des Beaux-Arts when he was twelve, continuing there until 1889, and winning a number of top prizes. He began exhibiting professionally at the age of twenty, and later taught at the Academies of Fine Arts in Glasgow and Brussels. In addition to painting, Delville also expressed his ideas in numerous written texts.
Delville became committed to spiritual and esoteric subjects during his early twenties. In 1887 or 1888 he spent a period in Paris, where he met Sâr Joséphin Péladan, an eccentric mystic and occultist, who defined himself as a modern Rosicrucian, descended from the Persian Magi. Delville was struck by a number of Péladan’s ideas, among them his vision of the ideal artist as a spontaneously developed initiate, whose mission was to send light, spirituality and mysticism into the world. He exhibited paintings in Péladan’s Salons of the Rose + Croix between 1892 and 1895.
In 1895 Delville published his Dialogue entre nous, a text in which he outlined his views on occultism and esoteric philosophy. Brendan Cole discusses this text in his D.Phil. thesis on Delville (Christ Church, Oxford, 2000), pointing out that, though the Dialogue reflects the ideas of a number of occultists, it also reveals a new interest in Theosophy. In the mid or late 1890s, Delville joined the Theosophical Society. In 1896, he founded the Salon d’Art Idealiste, which is considered the Belgian equivalent to the Parisian Rose & Cross Salon and the Pre-Raphaelite movement in London. The Salon disbanded in 1898. In 1910 he became the secretary of the Theosophical movement in Belgium. In the same year he added a tower to his house in Forest, a suburb of Brussels. Following the ideas of Jiddu Krishnamurti, Delville painted the meditation room at the top, including the floorboards, entirely in blue. The Theosophical Emblem was placed at the summit of the ceiling. Though photographs and drawings still exist, the house no longer stands.
From 1907 through 1937 Delville taught at the Académie Royale des Beaux-Arts in Brussels.
Here are a few new images to whet your appetite! I will be posting more images throughout the remainder of the campaign!
PLEASE VIST THE FOLLOWING LINK FOR MORE IMAGES:
Another British master is John Collier. He was part of the Pre-Raphaelite movement; a much loved sub-genre of the Symbolism movement. His beautiful, almost invisible, brushwork adds a sense of realism that was missing from many of his contemporaries. He was known as much for his lush pastoral paintings as his strong, sensuous female figures in both everyday life and mythology.
The Honourable John Maler Collier OBE RP ROI (27 January 1850 – 11 April 1934) was a leading English artist, and an author. He painted in the Pre-Raphaelite style, and was one of the most prominent portrait painters of his generation. Both his marriages were to daughters of Thomas Henry Huxley. He studied painting at the Munich Academy where he enrolled on 14 April 1875 at the age of 25.
Collier was from a talented and successful family. His grandfather, John Collier, was a Quaker merchant who became a Member of Parliament. His father (who was a Member of Parliament, Attorney General and, for many years, a full-time judge of the Privy Council) was created the first Lord Monkswell. He was also a member of the Royal Society of British Artists.
Collier died in 1934. His entry in the Dictionary of National Biography (volume for 1931–40, published 1949) compares his work to that of Frank Holl because of its solemnity. This is only true, however, of his many portraits of distinguished old men — his portraits of younger men, women and children, and his so-called “problem pictures”, covering scenes of ordinary life, are often very bright and fresh.
His entry in the Dictionary of Art (1996 vol 7, p569), by Geoffrey Ashton, refers to the invisibility of his brush strokes as a “rather unexciting and flat use of paint” but contrasts that with “Collier’s strong and surprising sense of colour” which “created a disconcerting verisimilitude in both mood and appearance”.