Marjorie Cameron, Holy Guardian Angel according to Aleister Crowley, 1966. Casein and gold lacquer on board

(Courtesy of the Cameron Parsons Foundation, Santa Monica. Photo Credit: Alan Shaffer)


Marjorie Cameron, East Angel · West Angel, n.d., Graphite, ink and gold paint on paper

(Courtesy of the Cameron Parsons Foundation, Santa Monica. Photo Credit: Alan Shaffer)

Happy Birthday Andy!

Andrew Warhola, Jr. at Age 8, 1936 [+]

by Dennis Hopper

(via aurai-deactivated20130512)


Ignacio de Ries, c. 1650

  • Saints Justa and Rufina
  • Saints Leander and Isidore of Seville

Seville Cathedral, Spain

Saints Justa and Rufina are venerated as martyrs. They are said to have been martyred at Hispalis (Seville) during the 3rd century. The two saints are highly honored in the Mozarabic Liturgy. Their legend states that they were sisters and natives of Seville who made fine earthenware pottery for a living, with which they supported themselves and many of the city’s poor. Their patronage is especially strong in Seville. According to tradition, they are protectors of the Giralda and the Cathedral of Seville.

Saint Isidore of Seville (Latin: Isidorus Hispalensis) (c. 560 – 4 April 636) served as Archbishop of Seville for more than three decades and is considered, as the 19th-century historian Montalembert put it in an oft-quoted phrase, “The last scholar of the ancient world”. At a time of disintegration of classical culture, and aristocratic violence and illiteracy, he was involved in the conversion of the royal Visigothic Arians to Catholicism, both assisting his brother Leander of Seville, and continuing after his brother’s death. He was influential in the inner circle of Sisebut, Visigothic king of Hispania. Like Leander, he played a prominent role in the Councils of Toledo and Seville. The Visigothic legislation that resulted from these councils influenced the beginnings of representative government.


Épigraphe pour un livre condamné

Lecteur paisible et bucolique, 
Sobre et naïf homme de bien, 
Jette ce livre saturnien, 
Orgiaque et mélancolique.

Si tu n’as fait ta rhétorique 
Chez Satan, le rusé doyen, 
Jette! tu n’y comprendrais rien, 
Ou tu me croirais hystérique.

Mais si, sans se laisser charmer, 
Ton oeil sait plonger dans les gouffres, 
Lis-moi, pour apprendre à m’aimer;

Ame curieuse qui souffres 
Et vas cherchant ton paradis, 
Plains-moi!… sinon, je te maudis!

Charles Baudelaire · "Nouvelles fleurs du mal" (1861)

* * *

Epigraph for a Condemned Book

Quiet and bucolic reader, 
Upright man, sober and naive, 
Throw away this book, saturnine, 
Orgiac and melancholy.

If you did not do your rhetoric 
With Satan, that artful dean, 
Throw it away, you’d grasp nothing, 
Or else think me hysterical.

But if, without being entranced, 
Your eye can plunge in the abyss, 
Read me, to learn to love me;

Inquisitive soul that suffers 
And keeps on seeking paradise, 
Pity me!… or else, I curse you!

— Translation by William AggelerThe Flowers of Evil

* * *

"Extraordinary copy of the first edition Charles Baudelaire’s Les Fleurs du Mal (estimate: $80,000-120,000), printed in Paris in 1857. In addition to being a scarce first issue, containing seven poems that were later suppressed, this copy has been extra-illustrated with drawings, prints and, most importantly, two letters by Baudelaire himself to the publisher of the book. Each of the included letters mentions Edgar Allan Poe, the author Baudelaire translated and championed in France. The book is in a very fine fin-de-siecle mosaic binding by Charles Meunier.”(source: 1 - 2)



Illustrations for Charles Baudelaire’s 'Les Fleurs du Mal', 1887-88

Pen and brown ink, brown ink wash, on pages from a copy of the original edition of ‘Les Fleurs du Mal’ (Paris, Poulet-Malassis et de Broise, 1857)

This copy of the original edition of 1857 belonged to the book lover and publisher Paul Gallimard. The architect and art critic Frantz Jourdain used his influence to obtain the commission to illustrate it for Rodin. The brown leather binding was made by Henri Marius Michel. Represented in demi-relief on the front cover, in incised, mosaiced leather, is an ivory skull on a dark green thistle plant.

Rodin, whose fondness for poetry and Baudelaire is well known,worked on this project for barely four months, in late 1887 and early 1888. His line drawings, sometimes heavily shaded, with hatched backgrounds and five washes on Japan paper, heavy with ink and gouache, would subsequently be inserted into the pages. Specially designed for the book or inspired by earlier sketches made for The Gates of Hell, these drawings appeared on the frontispiece and occasionally invaded the poems. (via Musée Rodin)


Carlos Schwabe’s llustrations for Baudelaire’s 'Les Fleurs du Mal' (Paris: Charles Meunier, 1900)

1. La Destruction · 2. Le Vin des amants · 3. L’Horloge · 4. L’Albatros · 5. Le Reniement de Saint Pierre


Henry Fuseli

· Titania’s Awakening (1785-1790 · Kunstmuseum Winterthur)

· Titania and Bottom (c. 1790 · Tate)

Fuseli was introduced to Shakespeare’s plays during his student days in Zürich with the Swiss scholar Jacob Bodmer. A Midsummer Night’s Dream held a special appeal for him, in that it explores the realms of the supernatural. In the picture Fuseli illustrates a moment from Act IV scene 1, in which Oberon, in order to punish her for her pride, casts a spell on Queen Titania, as a result of which she falls in love with Bottom, whose head has been transformed into that of an ass. (+)


The Red Viper Dueling the Mountain

From Game of Thrones Reenvisioned as Feudal Japan

Illustration by seiji: “Oberyn Martell wields a naginata against Gregor Clegane, who fights with a no-dachi (greatsword) and a tessen (iron war fan). The three kanji on Clegane’s armor each translate to the word “dog”, in accordance with his family crest. I considered giving Martell a yari (single-pointed spear) but I liked how the naginata drew parallels to the visually similar duel between Ushiwaka and the warrior-monk Benkei in the Heike Monogatari.”


Photograph (Untitled) by JOAN VILATOBÀ, n.d.

Museu Nacional d’Art de Catalunya, Barcelona


Photograph (Untitled) by JOAN VILATOBÀ, c. 1904

Museu Nacional d’Art de Catalunya, Barcelona


JOAN VILATOBÀ, Photographer (1878-1954)

  • En quin lloc del cel et trobaré?
  • La primera dolència


Meditation · Photographs by JOAN VILATOBÀ, c. 1904-1905


Photographs by JOAN VILATOBÀ, c. 1903-15