Talon Abraxas

The Artwork of Talon Abraxas

Born in South London, England in 1980, Talon Abraxas is a symbolist artist, writer and occultist whose work consists of both traditional and digital images. Symbolism in painting was a fantastic, often mystic, style that emerged as a reaction to the naturalism of realist and impressionist trends. Symbolist painters believed that art should reflect an emotion or idea rather than represent the natural world in an objective, quasi-scientific manner. This style of painting emphasized the world of dreams and the religious traditions of human transformation; it placed the appearance of literature, music and the arts over their functions.

A self-taught artist, Talon Abraxas regards an artist as a spontaneously developed initiate (Greek: μύστης) whose work conveys spirituality and religious mysteries to the world. The inspiration for his work is drawn from past mystic artists and writers, including English artist and occultist Austin Osman Spare, Belgian symbolist painter and author Jean Delville, Dutch painter Hieronymus Bosch, and Polish surrealist painter and sculptor Zdislaw Beksiński.

The Talon Abraxas Facebook site contains many images of Talon Abraxas’s work as well as other contemporary artists: https://www.facebook.com/p/Talon-Abraxas-100050477380184/

Notes: Archons are the supernatural builders of the physical universe, each one related to one of the seven classical planets visible to the naked eye: the Sun, Moon, Venus, Jupiter, Mercury, Mars, and Saturn, ordered according to their brightness. Abraxas is the term for the “Great Archon” in Gnostic Christianity. The word is found in such Gnostic texts as the “Holy Book of the Great Invisible Spirit” and the “Apocalypse of Adam”. Saint Epiphanius of Salamis, the Eastern Orthodox Catholic Bishop of Salamis, Cyprus at the end of the fourth-century, designated Abraxas (Biblical Greek: ἀβραξάς) to be “the power above all, and First Principle” and “the cause and first archetype” of all things.

Archon (Greek: ἄρχων) is the Greek word that means “ruler”. It is the masculine present participle of the verb stem αρχ-, meaning “to rule, to be first”. Throughout Greek history, the term Archon referred to the chief magistrates of various Greek cities. In the Byzantine empire, the term was used to denote a powerful noble or magnate, both domestic and foreign. Today, in Orthodox Christianity, archon is a honorific title given to someone who has served and promoted the Orthodox Church faith and tradition, a sworn duty of the archon. As it is a significant religious position, the faith and dedication of a candidate for the role are reviewed extensively during consideration.

Top Insert Image: Talon Abraxas, “Phoibos (Phoebus) Apollon”, Date Unknown, Digital Art

Bottom Insert Image: Talon Abraxas, “New Jerusalem”, Date Unknown, Digital Art

Illustrations for Edmund Weiss’s “Bilderatlas der Sternenwelt “

Illustrations for Edmund Weiss’s “Bilderatlas der Sternenwelt (Stellar Atlas)“, 1888-1892, Verlag von J.F. Schreiber, Stuttgart

Born at Freiwaldau, now Jeseník, a town in the Olomouc Region of the Czech Republic in August of 1837, Edmund Weiss was a professor and astronomer who became the director of the Vienna Observatory in 1878, a post he held until his retirement in 1910.

Born to hydrotherapy pioneer Josef Weiss and his wife, Edmund Weiss was the twin brother of noted botanist Adolf Gustav Weiss, Professor of Botany at Prague. Edmund Weiss spent his early years in Richmond, England where his father was the director of the hydrotherapy center at Stansteadbury in Hertfordshire. After his fathers death in 1847, Josef Weiss returned to his native land where he studied at the Gymnasium in Troppau, now Opava, from 1847 to 1855. He continued his education at the Vienna University with studies in mathematics, astronomy and physics.

On the completion of his studies, Weiss was appointed an assistant at the Vienna Observatory in 1858. While employed at the observatory, he continued his studies and was awarded in 1860 the degree of Doctor of Philosophy. As an assistant, Weiss was a diligent and skilled observer; he was noted for his accuracy in the measurement of a meridian arc during the period of 1864 to 1867. Although offered positions by astronomer Otto Wilhelm von Struve at the Pulkovo Observatory in Petrograd and chemist Adolf von Baeyer at Berlin’s Geodetic Institute, Weiss remained in Vienna where he received the title of honorary professor in 1869 and, in 1875, a full professorship.

In 1872, Edmund Weiss visited England and North America in order to study the leading observatories and new developments in optical works. The knowledge he gained was utilized at the building of a new observatory in the Vienna district of Währing as well as the purchase of its new instruments, among which were the 1882 twenty-seven inch equatorial by Dublin’s Grubb Telescope Company and an eleven three-quarter inch equatorial by Alvan Clark & Sons of Cambridgeport, Massachusetts. The construction of the Währing observatory was overseen by its director Karl Ludwig Littrow who died before the observatory’s completion. Weiss was appointed its new Director in 1878 and retained that post until 1910 when he retired with the title Emeritus Director.

The detailed observations at the Währing Observatory were related to the planets, comets, occultations (the concealment of celestial bodies by another), variable stars and meteors. From these studies, Weiss published a large number of papers among which were those that examined the connection between comets and meteors, the meteor swarm of Halley’s Comet, the magnitude of minor planets, the nebulae in the Pleiades, and a method of obtaining True Anomaly and the radius vector of great orbital eccentricity. He published a new edition of astronomer Joseph Johann von Littrow’s popular “Die Wunder des Himmels (The Wonders of Heaven)” and, in 1890, a revised edition of Wilhelm Albrecht Oeltzen’s 1857 astronomical catalogue “Argelander’s Southern Zones”. Weiss also published a pictorial atlas of astronomy in German, the 1888-1892 “Bilderatlas der Sternenwelt (Stellar Atlas)”.

Edmund Weiss made multiple journeys to observe astronomical phenomena, particularly eclipses. He observed the 1861 eclipse in Greece, that achieved just total before sunset; the 1867 annular (ring) eclipse from Dalmatia, Croatia; the 1868 total eclipse from Eden, Ireland; the total eclipse of 1870 from Tunis, Tunisia; and the 1874 Transit of Venus, the first of two transits in the nineteenth- century, from Jassy, Romania. These eclipse expeditions led to Weiss’s interest in solar physics and his membership with the International Union for Solar Research.

Weiss developed a high reputation in Vienna as a lecturer on astronomy. He was elected a Fellow of the Vienna Academy in 1878 and an Associate of the Society in 1883. Awarded the Bessemer Gold Medal in 1883, Edmund Weiss died at the age of seventy-nine in June of 1917 after a long and painful illness. He was survived by his wife Adelaide Fenzl and seven children. The “Weiss” lunar crater along the southern edge of the Mare Nubium was named after him.

Notes: It should be noted that Edmund Weiss is not the illustrator for the “Bilderatlas der Sternenwelt”. If anyone locates the name of the artist, please make a note in the comment section.

An annular eclipse occurs when the Moon passes directly between the Earth and the Sun but does not completely cover the Sun’s disk, leaving the outer edge visible as a bright ring around the Moon.

Top Insert Image: Photographer Unknown, “Professor and Astronomer Edmund Weiss”, 1872, Vintage Photo

Second Insert Image: Edmund Weiss, Title Illustration, “Bilderatlas der Sternenwelt”, 1888-1892, Verlag von J.F. Schreiber, Stuttgart

Bottom Insert Image: Edmund Weiss, “Uppenines at Sunrise”, Illustration for “Bilderatlas der Sternenwelt”, 1888-1892, Verlag von J.F. Schreiber, Stuttgart

Gilbert Lewis

The Portraits of Gilbert Lewis

Born at Hampton, Virginia in September of 1945, Gilbert Braddy Lewis was an American artist and art therapist. Over a span of five decades, he created portraits of friends and acquaintances, a collection of work that included an intimate series that represented the gay male experience in Philadelphia’s LBGTQ community.

Gilbert Lewis began his art training at the early age of seven and pursued the arts throughout his teenage years. After relocating to Philadelphia at the age of eighteen, he began studying at the Pennsylvania Academy of Fine Arts under such noted painters as Walter Stuempfig, Franklin Watkins, Hobson Pittman, and printmaker and muralist Morris Blackburn. Lewis was committed to his training and became particularly focused on the careful observation and life drawing taught in the curriculum of Thomas Eakins. After completing his certificate program in 1967, Lewis was awarded the eminent Cresson Traveling Scholarship, a two-year scholarship which enabled him to travel to Italy and study the Sienese and Florentine Renaissance artists.

Upon his return to the United States, Lewis enrolled at the Philadelphia College of Art, now the University of the Arts, where he earned his Bachelor of Fine Arts in 1974. Lewis received his Masters Creative Arts Therapy degree at Philadelphia’s Hahnemann University in 1978. He obtained a position as art therapist at the Manchester House Nursing Center in Medea, Pennsylvania where he worked from the late 1970s to the early 1990s. The animated qualities in Lewis’s portraits of the seniors with whom he worked is evidence of the warm relationships he established with the residents.

Fascinated by youth and aging, Gilbert Lewis’s work focused on the beginning and the end of adulthood. While working at Manchester House during the day, he was creating gouache, watercolor, charcoal and graphite portraits of young men in the city at night. These portraits express Lewis’s attentiveness to convey the wide eyed awkwardness of those young men who sought both guidance and trust in their artistic relationship with him. Each sitter was encouraged to dress and pose themselves in a way that they would feel most comfortable. Frequent conversations were normal between artist and sitter; many of his models would bring their own music choices to the studio.

Lewis painted models every night from Monday to Friday. His models, often tall and slender, were usually portrayed directly looking at the viewer with a slightly awkward vulnerability. Using a soft color palette, Lewis would sometimes paint his figures against solidly-colored backgrounds. Not overly concerned with realism, Lewis was drawn towards the ethnographic approach to the detail and the sense of longing found in American frontier painter George Catlin’s depictions of the indigenous peoples on the Great Plains of the 1830s.

Gilbert Lewis taught at the Pennsylvania Academy of Fine Art’s certificate and continuing education programs. He also supported himself throughout his entire career by working at Philadelphia’s art supply stores, including Blick Art Materials, South Street Art Supply, and Pearl Art and Craft Supply. Gilbert Lewis died at the age of seventy-eight on the seventh of December in 2023 at the Belvedere nursing home in Chester, Pennsylvania, from complications caused by Alzheimer’s disease.

Gilbert Lewis’s first solo exhibition was at the Pennsylvania Academy of Fine Art’s Peale House Gallery in 1981. He had numerous solo exhibitions in Philadelphia, among which were the Rosenfeld and Noel Butcher galleries. His largest exhibition, “Becoming Men: Portrait Paintings by Gilbert Lewis”, was presented in 2004 at the Leslie-Lohman Museum of Art in New York. Lewis’s work can be found in the permanent collections at Philadelphia’s Woodmere Art Museum, the Philadelphia Museum of Art, the Leslie-Lohman Museum of Art, and the Montclair Art Museum in New Jersey.

“One of my motivations in painting has been to celebrate the beginning of adulthood for the young and the final period of life for the old,” Gilbert observes. “What struck me is that both young men and the old are ignored by society. Despite our ostensible focus on youth, young men are in a sort of nether world, no longer teenagers and yet not full adults. They’re in transition with no established identify and no real place in society.” —Gilbert Lewis

Notes: The Leslie-Lohman Museum of Art has a short article written by Christian Bain entitled “Becoming Men: Portrait Paintings by Gilbert Lewis” in which Lewis discusses his work process and motivations for painting: https://leslielohman.org/exhibitions/becoming-men-portrait-paintings-by-gilbert-lewis

The WilliamWay LBGT Community Center in Philadelphia has a collection of paintings by Gilbert Lewis on its site located at: https://www.waygay.org/gilbert-lewis-1

Anthony Rullo was a portrait model who posed at least sixty times for Gilbert Lewis between 1986 and 1996. Rullo’s memories of Lewis and his mentorship are contained in a Visual Arts article by Peter Crimmins for Philadelphia’s WHYY newsletter: https://whyy.org/articles/gilbert-lewis-remembered-as-artist-mentor-to-phillys-gay-80s/

Second Insert Image: Gilbert Lewis, “Nude- Composition in Red and Green”, January 1985, Gouache on Board, 111.8 x 76.2 cm, Private Collection

Third Insert Image: Gilbert Lewis, “Seated Man with Shell”, circa 2020, Pastel on Paper, Private Collection

Bottom Insert Image: Gilbert Lewis, Untitled (Young Man Standing with Legs Spread), 1987, Gouache on Paper, 76.2 x 55.9 cm, Private Collection