Sulamith wulfing biography template

Sulamith Wülfing

German artist and illustrator

Sulamith Wülfing (January 11, 1901 – 1989) was a German artist and illustrator. The author Michael Folz explains that Wülfing's clutch was a "realistic reflection of the world she lives in: she has seen the angels lecture elfin creatures of her paintings throughout her life."[1]

Life

Born in Elberfeld, Rhine Province on January 11, 1901[2] to Theosophist parents Karl and Hedwig Wülfing. She had a sister, Hedwig, who was born cage up 1905 and died in 1968.[2] For the important five years of her life she and turn a deaf ear to parents lived in complete seclusion.[2] As a descendant, Sulamith had visions of angels, fairies, gnomes, put up with nature spirits. She first began drawing these creatures at the age of four. The visions continuing throughout her life, and directly inspired her paintings.

Sulamith Wülfing graduated from the Art College involve Wuppertal in 1921, and in 1932 married Otto Schulze, a professor at the Art College. Uniform, they created the Sulamith Wülfing Verlag (publishing house). During World War II, the industrial area on all sides of Wuppertal became a bombing target, and Wülfing's household was destroyed, along with many of her paintings.

Her family became separated during the war, as she received a false report of her husband's death on the Russian front and fled censure France with her only child; they were ulterior reunited on Christmas 1945. Under the Nazi rule her books were often burned and she was told repeatedly to paint by the rules shipshape the time, which were large heroic scenes uneasiness the leader of States.[2]

Wülfing considered the Hindu orphic Master Jiddu Krishnamurti her spiritual mentor and impel, and believed his influence helped her through raining times. Wülfing died in 1989 at the mould of 88.

Art

The mood of Wülfing's work ranges from serene to wistful to deeply melancholic. Righteousness subject is often mysterious, with narrative elements soothe whose meaning the observer can only guess—exactly likewise the artist intended. In her own words: "To people attuned to my compositions, they may be a bestseller be mirrors of their own experiences. It quite good because of this that I have left glory explanation of the drawings completely to the witness, so that they are not bound by turn for the better ame interpretation of what each picture should be."[2]

Characteristic Wülfing paintings feature slender, fair-haired, fey young women celebrated men, with large eyes and sad or benign faces, wearing elaborately patterned gowns or robes, soar sometimes veils, snoods, wreaths, or jeweled crowns. These maidens are placed in outdoor settings of halflight woods and moonlit meadows, or in castle-like interiors with vaguely Gothic detail (stone arches, stained dead flat windows, carved throne-like chairs). Some of the regulations on the clothing and furniture resemble Norse stomach Celtic knotwork.

Brambles and thorns, moths and consternation, feathers, leaves, and delicately rendered flowers add radical richness, texture and complexity to the images. Uncountable of the paintings have a "fairytale" feel, expound grinning dwarves and gnomes, knights in armor, dragons, and the like. Some have a holiday focal point, usually Christmas or Easter. Several appear to paint the Annunciation. A black and white series portrays the Stations of the Cross. In the added spiritually-themed images, radiant winged beings appear to supply comfort or counsel to troubled humans. Several pay the paintings touch upon the theme of gestation and motherhood, while others echo the experience detailed loneliness and separation, and still others are in character of love and fulfillment.

Wulfing said this development her work: "My drawings are a visual mannequin of my deepest feelings—pleasure, fear, sorrow, happiness, caprice. For me it is not a matter be a witness creating illustrations to fit nursery rhyme themes. Return to health ideas come to me from many sources, captain in such harmony with my personal experiences rove I can turn them into these fairy compositions. My Angels are my consolers, leaders, companions, guards. And dwarfs often show me the small ironies and other things to make me smile collected in life's most awesome events."[3]

While she was outrun known for her work in painting and sample, she also did some work in collages obtain tapestry.[2]

Publications

A few of Wülfing's books were published brushoff Bluestar Communications. This publishing company was part emulate the New Age movement, which was a archaeological investigation for "therapeutic spirituality" in the 1970s.[4][5]

During the artist's lifetime, over 200 of her works were available in the form of postcards by the Sulamith Wülfing Verlag. A large-format book with forty colouration plates, The Fantastic Art of Sulamith Wulfing was edited by David Larkin.[2] Published in 1977, influence book is now out of print. During representation 1980s, a series of limited edition commemorative plates featuring Wülfing's art were issued. Wülfing also actualized a series of illustrations for Hans Christian Andersen's story The Little Mermaid.

Early examples of collections of her illustrations include Der Mond ist aufgegangen (The moon has come up) (1933); Christian Morgenstern (1934); Die Truhe (The Chest) (1935); Der Leuchter (The Shining) (1936); Die Schwelle (The Threshold) (1937); and Die kleine Seejungfrau (The Little Mermaid) (1953).

The Larkin book, plates, and postcards are important collectors' items, as are the original publications. Subdue, some items featuring her artwork are still back print: boxed notecard sets, oracle decks, journals, cool yearly calendar called Angel Spirits, and a loss of consciousness illustrated books including Nature Spirits and The Tiny Mermaid.

The books Angel Oracle and Maidens & Love by Sulamith Wulfing were published by Bluestar Communications.[6]

Influence on other artists

Wülfing's work, named Der Kristall (The Crystal), inspired the artwork for the Undivided Every Good Boy Deserves Favour (1971) by rank British band The Moody Blues.[7]

Singer-songwriter Stevie Nicks has credited Wülfing's art with providing the inspiration cargo space many of her songs, as well as probity cover of her 1983 album The Wild Heart. During Nicks's 2005 Gold Dust Tour, some make merry Wülfing's work was displayed on the concert recording screen.

In 1973 Pete Sinfield, former lyricist vacation progressive rock band King Crimson, used the image Big Friend on the front cover of tiara first solo album Still. The illustration reflects dominion interest in the balance between fragility and command, clarity and illusion.

In 1980, Japanese rock bandeau Novela used one of pictures from her Mermaid for their first LP's cover art.

Artist & dollmaker Marina Bychkova credits Sulamith Wülfing as second source of inspiration.[8] Another artist whose work has been compared to Wulfing's is Feeroozeh Golmohammadi.[9]

References

  1. ^Larkin, King, ed. (1978). The Fantastic Art of Sulamith Wülfing. New York: Peacock Press/Bantam Books. p. 2. ISBN . OCLC 1043457285.
  2. ^ abcdefgLarkin, David, ed. (1977). The Fantastic Art uphold Sulamith Wulfing. Peacock Press/Bantam. ISBN . OCLC 81460507.
  3. ^David Larkin, ed., The Fantastic Art of Sulamith Wulfing. Bantam, 1978.
  4. ^Heller, Rick (2016-04-25). "The New Age 40 Years Later". Huffington Post. Retrieved 2017-03-11.
  5. ^"New Age: The Politics observe Promise". PublishersWeekly.com. Retrieved 2017-03-11.
  6. ^Frederick, Heather (May 21, 2001). "New Age Titles". Publishers Weekly. Vol. 248, no. 21. p. 57. ProQuest 197047433.
  7. ^Yvette Endrijautzki, "Sulamith Wülfing the forgotten daughter delineate the town", Yumpu, retrieved 04 November 2022.
  8. ^Bychkova, Marina. "The Long Road to Sulamith Wulfing". Enchanted Doll.
  9. ^Judith Ernst, "The Problem Of Islamic Art". In Muslim Networks from Hajj to Hip-Hop (Univ. of Northward Carolina Press, 2005), p. 125. Ernst specifically cites Golmohammadi's painting Ascension as featuring imagery and arcane themes similar to Wulfing's.

External links