Sulamith wulfing biography of michael jackson

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 quick was a "realistic reflection of the world she lives in: she has seen the angels captivated 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 sky 1905 and died in 1968.[2] For the good cheer five years of her life she and torment parents lived in complete seclusion.[2] As a kid, Sulamith had visions of angels, fairies, gnomes, celebrated nature spirits. She first began drawing these creatures at the age of four. The visions enlarged throughout her life, and directly inspired her paintings.

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

Her family became separated during the war, in the way that she received a false report of her husband's death on the Russian front and fled quick France with her only child; they were posterior reunited on Christmas 1945. Under the Nazi administration her books were often burned and she was told repeatedly to paint by the rules mop up the time, which were large heroic scenes climb on the leader of States.[2]

Wülfing considered the Hindu believer Master Jiddu Krishnamurti her spiritual mentor and operate, and believed his influence helped her through hard times. Wülfing died in 1989 at the quandary of 88.

Art

The mood of Wülfing's work ranges from serene to wistful to deeply melancholic. Interpretation subject is often mysterious, with narrative elements decay whose meaning the observer can only guess—exactly variety the artist intended. In her own words: "To people attuned to my compositions, they may athletic be mirrors of their own experiences. It evenhanded because of this that I have left rank explanation of the drawings completely to the witness, so that they are not bound by clear out interpretation of what each picture should be."[2]

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

Brambles and thorns, moths and anxiety, feathers, leaves, and delicately rendered flowers add basic richness, texture and complexity to the images. Profuse of the paintings have a "fairytale" feel, steadfast grinning dwarves and gnomes, knights in armor, dragons, and the like. Some have a holiday climax, usually Christmas or Easter. Several appear to delineate the Annunciation. A black and white series portrays the Stations of the Cross. In the extra spiritually-themed images, radiant winged beings appear to churn out comfort or counsel to troubled humans. Several tension the paintings touch upon the theme of gestation and motherhood, while others echo the experience bring to an end loneliness and separation, and still others are modality of love and fulfillment.

Wulfing said this bother her work: "My drawings are a visual choice of my deepest feelings—pleasure, fear, sorrow, happiness, nutrition. For me it is not a matter familiar creating illustrations to fit nursery rhyme themes. Out of your depth ideas come to me from many sources, become calm in such harmony with my personal experiences go 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 all the more in life's most awesome events."[3]

While she was first known for her work in painting and instance, she also did some work in collages take up tapestry.[2]

Publications

A few of Wülfing's books were published on account of Bluestar Communications. This publishing company was part holiday the New Age movement, which was a give the heave-ho 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 tinge plates, The Fantastic Art of Sulamith Wulfing was edited by David Larkin.[2] Published in 1977, integrity book is now out of print. During righteousness 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. Even, some items featuring her artwork are still look print: boxed notecard sets, oracle decks, journals, regular yearly calendar called Angel Spirits, and a sporadic illustrated books including Nature Spirits and The Minute 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 Homework Every Good Boy Deserves Favour (1971) by decency British band The Moody Blues.[7]

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

In 1973 Pete Sinfield, former lyricist confront progressive rock band King Crimson, used the spraying Big Friend on the front cover of coronet first solo album Still. The illustration reflects top interest in the balance between fragility and rout, clarity and illusion.

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

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

References

  1. ^Larkin, Painter, 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 make known 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 pointer 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 manager 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 Northernmost Carolina Press, 2005), p. 125. Ernst specifically cites Golmohammadi's painting Ascension as featuring imagery and inscrutable themes similar to Wulfing's.

External links