Working on the cutting edge of both magic and art, Austin Osman Spare developed a unique synthesis of older ritual magic systems with post-modern, erotic, and surrealist themes. His theory of magic eschews complex formula and ritual to favor creativity, spontaneity, and ecstasy, embracing artistic expression and alternative sexualities. Collected here are some of Spare's most important works. Though dense and esoteric, these texts bear repeated study by the serious occultist, for they speak to the human drives that make real magic possible.

Austin Osman Spare is the definitive biography of the controversial occultist and artist, an enfant terrible of the Edwardian art world whose work was both hailed as genius and decried as immoral decadence. As George Bernard Shaw reportedly said, "Spare's medicine is too strong for the average man." Trained as a draughtsman, Spare enjoyed early acclaim when, at the age of seventeen, his work was shown at the Royal Academy in London. But his star soon declined; Spare went underground, falling out of the gallery system to live in poverty and obscurity. After a brief association with Aleister Crowley, he became absorbed in occultism and sorcery, voyaging into inner dimensions, while developing his own magical philosophy of pleasure, obsession, and the subjective nature of reality. All the while, Spare continued to produce extraordinary art, and held his exhibitions outside of the conventional art world, in London pubs. Today Spare is both forgotten and famous, a cult figure whose modest life has been much mythologised since his death; the world's largest Spare collection is held by Jimmy Page of Led Zeppelin. Biographer Phil Baker separates fact from myth, providing wide-ranging insights into Spare's art and mind, reconnecting him with the art community that ignored him and exploring the rich tapestry of the culture that surrounded him, interweaving the birth of psychoanalysis, the historiography of the occult, and the British class system. This richly readable and illuminating biography, containing 50 black and white and 8 color photographs of Spare's art, takes us deep into the strange inner world of this enigmatic artist.

The Writings of Austin Osman Spare is a collection of three books written by the famous artist and occult author. The three books included in this publication are Anathema of Zos: The Sermon to the Hypocrites, The Book of Pleasure: The Psychology of Ecstasy and The Focus of Life: The Mutterings of Aaos. This compilation of three of Spare's most popular works is a must read for those that are fans of his writings and those interested in books on the occult.

A masterwork of the renowned artist and magician Austin Osman Spare. This New Edition features all the original illustrations, accurate paragraph division, and text formatting as compared with the original printing. The Focus of Life is one of Spare's greatest and most accessible works.

This work explores techniques and traditions of the Left Hand Path, a complex magical system, retrieved from historic cultural dispesion. It discusses how this system aims to give access to, and mastery of, the subconscious mind's occult resources, and considers the system's Atlantean, voodoo, Chinese and tantric strands.

Thank you for checking out this book by Theophania Publishing. We appreciate your business and look forward to serving you soon. We have thousands of titles available, and we invite you to search for us by name, contact us via our website, or download our most recent catalogues. OUT OF THE FLESH of our mothers come dreams and memories of the Gods. Of other kind than the normal inducement of interest and increasing skill, there exists a continual pressure upon the artist of which he is sometimes partially conscious but rarely entirely aware. He learns early or late in his career that power of literal reproduction (such as that of the photographic apparatus) is not more than slightly useful to him. He is compelled to find out from his artist predecessors the existence, in representation of real form, of super-sessions of immediate accuracies; he discovers within himself a selective conscience and he is satisfied, normally, in large measure by the extensive field afforded by this broadened and simplified beyond this is a region and that a much greater one, for exploration. The objective understanding, as we see, has to be attacked by the artist and a subconscious method, for correction of conscious visual accuracy, must be used. No amount of manual skill and consciousness of error will produce good drawing. A recent book on drawing by a well-known painter is a case in point; there the examples of masters of draughtsmanship may be compared with the painter-author's own, side by side, and the futility of mere skill and interest examined. Therefore to proceed further, it is necessary to dispose of the subject in art also (that is to say the subject in the illustrative or complex sense). Thus to clear the mind of inessentials permits through a clear and transparent medium, without prepossessions of any kind, the most definite and simple forms and ideas to attain expression.