Yellow Painting, “Strontium”, 1945—one of three “kinetic” paintings by Naum Gabo
“All colors, even in their seemingly identical hues, have a different identity in our vision of them. One and the same color acts differently on different surfaces. Colors change with the change of their place in space or on a surface, and their identity also varies with the time at which they appear in the field of our vision. They change not only according to the neighboring color—a fact by now known to every schoolboy—but in relation to the frame of our vision and its axis, i.e., to right or left of the axis, and up or down from it”
Selections from the “Voynich Manuscript”—a mysterious, illustrated codex hand-written in an unknown writing system. It was said to belong to the Holy Roman Emperor Rudolph II who paid 600 ducats for it. It passed through the hands of Athanasius Kircher and many others before being purchased by Wilfrid Voynich in 1912 for which it is named.
Heraldic emblems designed by J.R.R. Tolkien along with the Tree of Amalion
Selected plates from “An Original Theory or New Hypothesis of the Universe” by Thomas Wright — 1750
Etchings by Ernst Fuchs illustrating “The Symbolism of Dream” by Gotthilf Heinrich von Schubert
Published in 1814, this seminal work caused an impressive impact on scholars and artists - it was a pioneer study which tried to investigate dreams as part of the subconscious phenomena and the relationship between dreams and reality. Schubert (1780 - 1860) differentiated between dreams which express anxiety and serve as premonitory signs and dreams which establish a direct channel of communication between the soul and God.
Plates from “Insect Amusements” by August Johann Rösel von Rosenhof
Scenes from the “Plight of the Who” by David Jien
In this epic narrative Jien chronicles an allegorical future detailing a power struggle in which human and anthropomorphic beings fight against a race of balloon-headed creatures and cold-blooded reptilian overlords who seek world domination.
Taking inspiration from the infinite possibilities of science fiction, the storytelling of Henry Darger, the isometric perspective and narrative geography of Nintendo and Chinese scroll paintings, the eroticism of Japanese pillow books and the limitless transformations of graffiti, Jien has painstakingly crafted a series of intensely detailed scenarios in colored pencil on paper.
Frontispiece engraving from Urban Hjärne’s “Actorum Chemicorum Holmiensium” — 1758, with a modern coloration by Adam McLean
“Eruption on Saturn’s moon, Enceladus” by Bill Hartmann
Oil on canvas
"Solar eclipse seen from a research station on the moon" by Bill Hartmann
Oil on canvas
"The Angel of Revelation" by William Blake — 1803-05
"Then I saw another mighty angel coming down from heaven. He was robed in a cloud, with a rainbow above his head; his face was like the sun, and his legs were like fiery pillars. He was holding a little scroll, which lay open in his hand. He planted his right foot on the sea and his left foot on the land, and he gave a loud shout like the roar of a lion. When he shouted, the voices of the seven thunders spoke. And when the seven thunders spoke, I was about to write; but I heard a voice from heaven say, "Seal up what the seven thunders have said and do not write it down." Then the angel I had seen standing on the sea and on the land raised his right hand to heaven. And he swore by him who lives for ever and ever, who created the heavens and all that is in them, the earth and all that is in it, and the sea and all that is in it, and said, "There will be no more delay! But in the days when the seventh angel is about to sound his trumpet, the mystery of God will be accomplished, just as he announced to his servants the prophets."