The Sounding of the Seventh Angel


Working all night and inspired by a reading of two editions of The Revelation of St. John the Divine, the artist produces The Sounding of the Seventh Angel (1960), its “large rough outlines cursorily thrown down. Then, as the thing progresses, the original idea is abandoned, something else being dictated. A standing of ten hours – through one night and into the dawn – and it is done.” (Taylor, The Winnowed Field, p. 146)

“. . . the term ‘angel’ or ‘spirit’ in William Blake, when not used in an ironic sense, means the imagination functioning as inspiration, and the fact that inspiration often takes on a purpose of its own which appears to be independent of the will is familiar to every creative artist.”
Northrop Frye, Fearful Symmetry

Abstracted into an expression of pure transfigurative energy sea and angel appear to be one and the same – an immanent vision of undying creativity: something that we – the viewer – discover to be inherent in ourselves. The treatment expands visually; its scale is infinite. (The Sounding of the Seventh Angel: The Collected Paintings)

“. . . if all art is visionary, it must be apocalyptic and revelatory too: the artist does not wait to die before he lives in the spiritual world into which [St.] John was caught up.” 
Northrop Frye, Fearful Symmetry


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