Art & Modern Spirituality

Learning Objectives

1. Analyze primary texts to evaluate the direct influence of modern spirituality on art movements of the late 19th and early 20th centuries.

2. Compare and contrast esoteric spiritual theories with contemporaneous psychoanalytic frameworks, particularly examining how these competing worldviews shaped artistic production and criticism.

3. Evaluate the progression of spiritually-influenced art theory from Modernism through Postmodernism, synthesizing key arguments from foundational texts and critical responses.

4. Construct theoretical frameworks that explain the evolution and persistence of esoteric spiritual influences in contemporary art practices.

5. Develop original arguments about the relationship between modern spirituality and visual art through independent research culminating in a substantial scholarly paper.

Unit 1: The Symbolical Philosophy

This unit explores the relationship between visual representation and symbolic meaning in art, examining how artists have used symbols to convey deeper spiritual, philosophical, and esoteric ideas. Students will investigate what defines a work as "symbolic" and how symbols function within artistic traditions influenced by modern spirituality. The unit will draw from sources such as Curl's The Art and Architecture of Freemasonry, Hall's "The Secret Language of Symbolism," and the video lecture "Chemical Rainbows and Liquid Crystal Souls: the Spirit of Alchemy in the History of Art" from the Getty Research Institute. 

Unit 2: Theosophical Art & Art Theories

This unit examines the metaphysical underpinnings of Modeern art, contrasting these perspectives with materialist theories. Students will delve into Theosophical ideas and their influence, exploring how metaphysical beliefs shape the creative process and artistic intent. Readings include seminal works such as Thought Forms by Besant and Leadbeater, Kandinsky’s Concerning the Spiritual in Art, and Bragdon’s The Beautiful Necessity, alongside Theosophical Society president Jinarajadasa’s essays on the artist’s spiritual role and the concept of karma. The unit culminates in a paper where students evaluate these primary sources and articulate a personal understanding of Theosophical art theories.

Unit 3: Anthroposophical Art & Art Theories

This unit focuses on the artistic philosophies of Anthroposophy, as articulated by Rudolf Steiner, and their broader implications for artistic creation and interpretation. Through primary texts such as The Arts and Their Mission and the "Ways/Architecture" lectures on architectural forms, students will explore Steiner’s views on the spiritual dimensions of art and its role in human development. Special attention will be given to key concepts like organic form, spiritual perception, and the interplay between inner experience and outer expression. The unit's written assignment challenges students to analyze these primary sources and critically compare Anthroposophical art theories with those of Theosophy, identifying both commonalities and divergences in their approaches to art and spirituality.

Unit 4: Paintings for the Future

This unit explores the life and artistic practice of Hilma af Klint, examining how her spiritual beliefs—rooted in movements such as Theosophy, Anthroposophy, and Spiritualism—shaped her pioneering abstract work. Through critical readings, including analyses of af Klint’s artistic journey and the broader metaphysical context of her time, students will consider how her oeuvre connects to and diverges from other art movements discussed in previous units. The assigned paper invites students to extend their understanding by analyzing and evaluating the influence of metaphysical theories on their work, drawing connections between historical and contemporary expressions of "spiritual" art.

Unit 5: The Esoteric Postmodern

This unit investigates the evolving presence of metaphysical/spiritual influences in art throughout the mid- to late-20th century, within the context of postmodernism. Readings such as Ringbom’s Epoch of The Great Spiritual, Youngblood’s exploration of expanded consciousness in cinema, and Kuspit’s “Reconsidering the Spiritual in Art”  provide a framework for understanding how ideas from spiritual modernism persisted and transformed in response to new cultural, technological, and philosophical developments. The written assignment challenges students to analyze these shifts, articulating how metaphysical theories continued to influence artistic practices and how artists navigated the intersection of spirituality and postmodern thought.

Unit 6: The Contemporary, The Critical View

This unit delves into critical perspectives on the legacy of spiritual modernism in contemporary art, focusing on how these ideas continue to be interpreted and debated in the present day. Readings such as Gray’s examination of Rudolf Steiner’s influence on architecture, Fox’s reflection on belief systems in contemporary art, Ross’s exploration of the occult roots of modernism, and Pilkington’s critique of New Age art movements will prompt students to engage with varying viewpoints on the relevance and critique of metaphysical viewpoints in art today. The unit encourages students to share personal evaluations of these scholarly works, fostering critical thinking about the ongoing intersection of art, contemporary spirituality, and current discourse.

Unit 7: The Post-Modern and Beyond The Contemporary

In the final unit, students will synthesize the theoretical frameworks and historical contexts explored throughout the course, focusing on the continued evolution of metaphysical influences in contemporary art. The culminating paper requires students to critically analyze relevant scholarship and primary sources, developing their own theory about the ongoing impact of modern and contemporary spirituality on 21st-century art. The unit aims to foster a reflective and analytical approach to understanding the dynamic relationship between art, contemporary spirituality, and emerging life-philosophies in the post-modern era.

Outcomes