According to the scholar Franco Ferraresi, "Evola's thought can be considered one of the most radical and consistent anti-egalitarian, anti-liberal, anti-democratic, and anti-popular systems in the twentieth century. Frame size: 52 x 42 cm (20.5 x 16.5 inches). (20 1/4 Involution occurs when something turns in upon itself. oil on board Julius Evola, “Tendenze di idealismo sensoriale” (“The tense of aesthetic idealism”), 1916-18, Julius Evola, “Sequenza dinamica (etere)” (“Dynamic synthesis (ether)”), 1917-18, Julius Evola, “Mazzo di fiori” (“Bunch of flowers”), 1918, Julius Evola, “Fucina, studio di rumori” (“The Forge, study on noise sounds”), 1917-18. | Oil on cardboard, 48,6x34 cm, signed "Evola" on the upper left. Sign up for the Aristocrats of the Soul newsletter.
To swipe away, and blot out.In a world left in the hands of bandits who are ripping apart and destroying all centuries, an individual’s purity is affirmed by a condition of folly, of aggressive and utter folly. 51.5
Circle of [Artist Name]: A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Although Evola left the Dadaist movement after a few years, in an interview in 1970 he said that the movement even today “remains unsurpassed in the radicalism of its attempt to overturn not only the world of art, but all aspects of life” (Cinnabar, p. 257). In 8°. Prima opera: esemplare arricchito da dedica autografa in penna rossa al foglio di guardia.Seconda opera: edizione originale. Small area of light craquelure in the center right of the painting.
The Julius Evola.Network offers a comprehensive approach to Julius Evola with pictures/paintings gallery, complete bibliography, large text archive & much more Julius Evola (1898-1974) was an Italian philosopher, painter, and esotericist. Lettere di Julius Evola a Tristan Tzara, Roma, 1991, p. 20 Julius Evola came to view Dadaism as decadent later in his life, and the Italian esotericist only spent a few years as a painter.But for fans of his writing and philosophy, the paintings he did in throughout his life hold a special fascination, and provide insights into his later philosophy.
In 1920’s Arte astratta, Evola outlined his theory that “passive aesthetic needs were subordinate to the expression of an impulse towards the unconditioned.” Dadasim, as Evola understood it, was not to create art as it’s usually understood, but “signalled the self-dissolution of art into a higher level of freedom” (Cinnabar, p. 20-21). 1GLKve4xmkJ92Acg8ap98tMwo5TMSxnhAW. All Rights Reserved. 2 On account of Evola's sentiment, the Vatican-backed right wing Catholic journal Revue Internationale de Sociétés Secretètes published an article in April 1928 entitled "Un Sataniste Italien: Julius Evola. Milano, all’insegna del pesce d’oro, 1961. In the manner of [Artist Name]: In our opinion, the work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. Many of Evola's theories and writings were centered on his idiosyncratic mysticism, occultism, and esoteric religious studies, and this aspect of his work has influenced occultists and esotericists. x 40.3cm
Frame size: 52 x 42 cm (20.5 x 16.5 inches). Evola was the "chief ideologue" of Italy's terrorist radical right after World War II.
Please Register/Login to access your Invaluable Alerts, View additional info and full condition report. Signed J. EVOLA on the lower right corner. Evola proposed that fascism should be a vehicle for reinstating the caste system and aristocracy of antiquity. Brossura editoriale gialla con titolo in nero. It was during the Dadaist period of his life that Evola started reading about esotericism. Evola spent World War II working for the Sicherheitsdienst. Galleria La Medusa, Rome Julius Evola (Italian, 1898-1974) on the lower right corner. Palatino, Jan.-Mar., 1968, p. 55, fig. ART WORK OF JULIUS EVOLA. Description: In 1922, after concluding that avant-garde art was becoming commercialized and stiffened by academic conventions, he reduced his focus on artistic expression such as painting and poetry. Estimate: $3,000 - $5,000 Description: Mixed media on paper, framed. Evola did readings from Tristan Tzara’s Manifeste dada 1918 and said that Futurism was dead, causing an uproar. Early in his life, he experimented with painting as a member of the Dadaist art movement in Italy. JULIUS EVOLA (ITALIAN 1898-1974), GRAPHITE AND GOUACHE ON PAPER, DADAIST COMPOSITION, SIGNED. Julius Evola, “Nudo di donna (afroditica)” (“Nude of aphrodite beauty”), 1960-70, Julius Evola, “La genitrice dell’universo” (“The generator of the Universe”), 1968-70. Exhibited: He quit painting in the early 1920s, and stopped writing poetry in 1924–not to pursue either again for more than 40 years (according to Gwendolyn Toynton’s essay “Mercury Rising” at Primordial Traditions).
This painting was listed at an art auction website, and said to be painted in 1945: The following two paintings are cited in Julius Evola: L’Altra Faccia Della Modernita by Francesca Ricci and appear on the website of the Fondazione Julius Evola. Description: Attributed to [Artist Name]: In our opinion, the work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. The Julius Evola Network offers a paintings gallery covering Julius Evolas paintings from his dadaist and futurist period to his symbolic or magic paintings
Condition Report: Mixed media on paper, framed. 54 The painting below appears to have sold at Christie’s for $43,152. Bari, Laterza, 1931. And help keep Evola’s thought and works alive by sharing this image! EVOLA (ur) €4,000 - €6,000. Julius Evola came to view Dadaism as decadent later in his life, and the Italian esotericist only spent a few years as a painter. Senza titolo, ca 1919/1920;Olio su cartone 40 x 35,5 cm Firma Provenienza: collezione privata Roma, Estimate: and According to an essay on Dada on the website of New York’s Museum of Modern Art, Evola launched a Rome Dada season in April 1921, which included an exhibition at the Galleria d’Arte Bragaglia that included works by Mantuan Dadaists Gino Cantarelli and Aldo Fiozzi, as well as performances at the Grotte dell’Augusteo cabaret. Frame size: 52 x 42 cm (20.5 x 16.5 inches). A bio will be coming shortly. Help keep the site running by donating bitcoin. § Cavalcare la tigre. Il libro del principio e della sua azione. It is a singular (though not necessarily original) blend of several schools and traditions, including German idealism, Eastern doctrines, traditionalism, and the all-embracing Weltanschauung of the interwar conservative revolutionary movement with which Evola had a deep personal involvement". Concerning this statement, historian Elisabetta Cassina Wolff wrote that "It is unclear whether this meant that Evola was placing himself above or beyond Fascism". Fifty-four of his paintings were exhibited in Rome in 1920, and an exhibition in Berlin included 60 paintings by Evola. ", This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Rome, La Casa d'arte Bragaglia, 1920, no. before finding oneself in the human condition, aspects that are especially likely in an epoch like the present, a principle of responsibility and "loyalty", everyone knows that sooner or later the end will come, it is more valuable to try to decipher the hidden meaning, the part that it has in a context that according to our view, but proceeds from our transcendental will, of a predominately intellectual and practical order, that have no specific relation to either sex, or even to any particular race or nationality, and are exercised under the sign of the absurdity, that characterizes all the systems of contemporary society, first of all has to be mentioned the power of the earth element, in the 'petrification' of the spiritual world, in perception conditioned by the dualistic law of I-not-I, it is the power of salt that operates (in hermetic symbolism salt=body=stone=earth), so the power of earth in man will be that, that can transpose all the principles of things, all principles are analogously transposed, which together constitute the "philosopher's heaven", can only be apprehended by a consciousness, different from that which comes from the body, even if such consciousness has been perfected, the principle of this knowledge is "like is known by like", are also contained the essences of all the other elements, the potentiality of other states of consciousness, apart from that under the spell of the earth element, so whoever worships another divinity than his self, he is like a sacrificial animal for the gods, a man who knows the true meaning of the teachings of Julius Evola, becomes fit for union with ultimate reality, the target to pierce - the supreme spirit, are better than those who do not know them, those who remember them are better than those who read them, those who understand them are better than those who remember them, are better than those who understand them, "Visita Interiora Terrae Rectificando Invenies Occultum Lapidem", (pass through the bowels of the earth and by rectifying thou wilt find the hidden stone). Brossura editoriale gialla con fascetta editoriale rossa. In 8°. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. In 1920’s Arte astratta, Evola outlined his theory that “passive aesthetic needs were subordinate to the expression of an impulse towards the unconditioned.” Dadasim, as Evola understood it, was not to create art as it’s usually understood, but “signalled the self-dissolution of art into a higher level of freedom” (Cinnabar, p. 20-21). Thence by descent to the current owner This oil painting is hanging on a wall of the National Gallery of Modern Art in Rome (according to Guido Stucco’s introduction to The Yoga of Power): Julius Evola, “Paesaggio interiore ore 10,30″ (Inner Landscape, 10:30 a.m.”), 1918-20. During his trial in 1951, Evola denied being a fascist and instead referred to himself as a "superfascist". circa 1963 Bears signature: In our opinion, the signature on the artwork may be spurious. Rome, Galleria La Medusa, 1963, no. Evola has been called “Italy’s foremost exponent on Dadaism between 1920 and 1923″ (according to Roger Griffin’s Modernism and Fascism, p. 39). €13,000 - €20,000, Description:
According to Pinkus, “this is a very interesting gesture, especially as the inscription seems entirely disjoined from the composition itself, as if it had been an afterthought, and a reflection of the troubled relationship between modern chemistry as abstraction and alchemical materiality.”, Julius Evola, “Paesaggio interiore, illuminazione,” 1919. Evola’s intellectual autobiography, The Path of Cinnabar, provides insights into his foray into the art world in the chapter “Abstract Art and Dadaism.” He was attracted to Dada for its radicalism, since it “stood for an outlook on life which expressed a tendency towards total liberation, conjoined with the upsetting of all logic, ethic and aesthetic categories, in the most paradoxical and baffling ways” (p. 19). Historian Aaron Gillette described Evola as "one of the most influential fascist racists in Italian history". For further information on this lot please visit the Julius Evola e l'arte delle avanguardie tra Futurismo, Dada e Alchimia, Milan, Oct. 15-Nov. 29, 1998, p. 132, no. But for fans of his writing and philosophy, the paintings he did in throughout his life hold a special fascination, and provide insights into his later philosophy.
He quit painting in the early 1920s, and stopped writing poetry in 1924–not to pursue either again for more than 40 years (according to Gwendolyn Toynton’s essay “Mercury Rising” at Primordial Traditions). Oil on canvas Imperialismo Pagano. Get a quick overview of his philosophy on art and his paintings in this infographic. 29
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