{"id":217593,"date":"2025-05-01T22:04:30","date_gmt":"2025-05-01T22:04:30","guid":{"rendered":"https:\/\/peraltafinancing.com\/entertainment\/art\/agnes-pelton-emil-bisttram-and-raymond-jonson\/"},"modified":"2025-05-01T22:04:30","modified_gmt":"2025-05-01T22:04:30","slug":"agnes-pelton-emil-bisttram-and-raymond-jonson","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=217593","title":{"rendered":"Agnes Pelton, Emil Bisttram, and Raymond Jonson:"},"content":{"rendered":"


\n<\/p>\n

\n
<\/a><\/div>\n

Departure, <\/i>1952, oil on canvas; visible in installation below<\/p>\n

Agnes Pelton (1881-1961) was a visionary who sought to
\nexpress through her painting a realm beyond the physical. The exhibition, Agnes
\nPelton: Desert Transcendentalist,<\/i> opened at the Whitney in March as
\nthe country went into lockdown, so for much of the run of the show it was dark.
\nI saw it in September just as the museum was reopening, when attendance was sparse.\u00a0Pelton was part of the Transcendentalist Painting Group in Taos, founded in
\n1938 by Emil Bisttram (1895-1976) and Raymond Jonson (1891-1982). Not
\ncoincidentally the work of the latter two was on exhibition at D. Wigmore Fine
\nArt, a gem of a gallery on 57th Street that specializes in abstraction and
\nrealism within the Modernist period.\u00a0This post looks at the work of all three artists.\u00a0<\/span><\/span><\/h2>\n


<\/span><\/span><\/h2>\n

Agn<\/i>es Pelton: Desert Transcendentalist<\/i> at the Whitney Museum<\/b><\/span><\/h3>\n<\/p>\n
\n


\nThe Pelton exhibition marks the second major museum show in recent years to feature the
\nwork of a relatively unknown female visionary. In the 2018-2019 season it was
\nHilma af Klint<\/a>:\u00a0<\/i><\/span><\/b><\/span>Paintings for the Future<\/a><\/i><\/span><\/b>\u00a0<\/span><\/b><\/a>\u00a0at the Guggenheim. I’d say that Klint\u2019s was the more powerful, with large-scale paintings, many of them complex geometric abstractions owing their creation to her occult studies and
\nvisions. Klint makes us rethink the origins of contemporary abstraction\u2014it was
\nlikely she who soared past representation even before Kandinsky\u2014 but
\nher wish that her work not be shown until 20 years after her death meant that
\nshe would remain largely unknown for decades.<\/span><\/p>\n

Pelton, on the other hand, was an exhibiting artist with
\nnumerous solo and group shows to her credit. She showed regularly in New York
\nCity and had several paintings included in the 1929 Armory Show. Through Theosophy,
\nZen Buddhism, and yoga she had been exploring paths to a higher consciousness. Seeking
\nsolitude, she relocated first to the then-unpopulated eastern end of Long
\nIsland \u00a0(where she lived in a windmill) and
\nthen to the desert near Palm Springs, California, where she could reconcile her
\npaintings with her longing for and experience of consciousness on a higher
\nplane. Born in Germany, with a career start in New York City, she nevertheless
\nfound California to be her spiritual home.<\/span><\/p>\n

After early realist work,
\nPelton settled on forms that are largely biomorphic, often
\nswirly, with veils of color achieved through glazing. Her iconography depicts vessels,
\nbuds and flowers, stars, flames, circles, and terrestrial landscapes with a
\nsense of the otherworldly. A few of the paintings are reminiscent of Tantric
\ndrawings. Her palette consists largely of celestial and aqueous blues and a
\nradiant lightness.\u00a0\u00a0<\/span><\/p>\n


\n
<\/span><\/div>\n

<\/p>\n

<\/a><\/div>\n

View of the gallery in which Departure,\u00a0<\/i>above, and Awakening (Memory of Father),<\/i>\u00a0below, are installed. Photography is my own unless otherwise noted<\/p>\n

<\/a><\/div>\n

Awakening (Memory of Father),<\/i>\u00a01943, oil on canvas<\/p>\n

<\/a><\/div>\n

Challenge,<\/i>\u00a01940, oil on canvas<\/p>\n

\n

Some 45 easel-size works, modest by contemporary standards,
\nwere handsomely installed, some in dark-walled rooms. The intentionally small number of
\nvisitors and relative quiet heightened the contemplative nature of the work. For
\nthe most part I didn\u2019t connect with Pelton\u2019s deeply personal iconography. To be honest, I found many of the paintings kind of hokey\u2014except
\nfor the sublime painting that opens this post, which I could look at
\nevery day for the rest of my life\u2014but her longing for unity with the divine was powerfully
\npresent in the work.<\/span><\/p>\n

The artist died in 1961 of liver cancer at the age of 79.
\nShe left behind a large body of work which depicts that longing. Let\u2019s hope she
\ncompleted her journey.<\/span><\/p>\n

Additional info:
.The exhibition originated at the Phoenix Art Museum, curated
\nby Gilbert Vicario
. You will find installation shots and videos on the <\/span>Whitney website<\/a>\u00a0<\/span>\u00a0<\/b>
. Roberta Smith’s review in the New York Times<\/i>\u00a0is here<\/span><\/b><\/a><\/span><\/span><\/p>\n<\/div>\n

<\/a><\/div>\n

Installation view of one of the dark-walled galleries, image from the Whitney website. Three paintings from this shot are shown individually below<\/p>\n

<\/a><\/div>\n

Orbits,<\/i>\u00a01934, oil on canvas<\/p>\n

<\/p>\n

<\/a><\/div>\n

The Primal Wing,<\/i>\u00a01933, oil on canvas<\/p>\n

<\/a><\/div>\n

Interval,<\/i>\u00a01950, oil on canvas<\/span><\/p>\n


From the wall text: “Interval<\/i> is one of many paintings that Pelton centered on a circle. With no beginning and no end, the form has often been used by artists to suggest infinity and self-contained harmony. Fittingly, given Pelton’s belief in the power of certain shapes to covey ‘the higher possibilities of vision,’ she incorporated circles in her compositions to suggest the calm radiance at the center of a storm.”<\/span><\/p>\n

<\/a><\/div>\n

Installation with two paintings shown individually below<\/p>\n

<\/a><\/div>\n

Birthday, <\/i>1943, oil on canvas<\/p>\n

<\/p>\n

<\/a><\/div>\n

Alchemy,<\/i>\u00a01937-39, oil on canvas<\/p>\n

<\/p>\n

<\/a><\/div>\n

We continue around this gallery with Alchemy<\/i>, left, and\u00a0 . . .\u00a0
. . . below, Fires in Space,<\/i> 1938, oil on canvas<\/p>\n

<\/p>\n

<\/a><\/div>\n

<\/p>\n

<\/a><\/div>\n

Installation with Mount of Flame<\/i>\u00a0below<\/p>\n

<\/a><\/div>\n
Mount of Flame,<\/i>\u00a01932, oil on canvas<\/p>\n

From the wall text: Mountains, for Pelton, symbolized personal growth. Here, she underscores their transformative power by picturing them as host to ascending flames, which were central to Agni Yoga, a spiritual discipline based on fire as a metaphor for the powerful yet dematerialized inner force that can guide each individual to higher consciousness. Inspired by her study of the discipline, Pelton included fire imagery in a number of her works to signify the ‘Creative fire of the Universe’ within herself and others. As she noted in her journal, ‘In the fire world I perceived beauty in the Abstract as a living power.'”<\/p>\n

<\/span><\/div>\n

<\/p>\n

<\/a><\/div>\n

Focus,<\/i>\u00a01951, oil on canvas<\/p>\n

<\/a><\/div>\n

Messengers,<\/i>\u00a01932, oil on canvas<\/p>\n

<\/p>\n

<\/a><\/div>\n
Mother of Silence,<\/i>\u00a01933<\/p>\n

From the wall text: “Mother of Silence<\/i>\u00a0portrays the universe’s divine feminine force, or World Mother as it is known in Theosophy. A spiritual movement focused on self-knowledge and encompassing ideas such as karma and reincarnation, Theosophy was developed in the late nineteenth century by Helena Blavatsky, a Russian \u00e9migr\u00e9 to the United States. Pelton depicts the figure as a ‘Mighty Angel’ on a throne of jade, encircled by an ethereal glow. To Pelton, the image was a living presence to which she could turn for guidance. Several of her journal entries record the questions she asked of it and the answers she received.”<\/p>\n<\/div>\n

<\/p>\n

<\/a><\/div>\n

Installation view with two paintings shown individually below<\/p>\n

<\/a><\/div>\n

<\/p>\n

Sand Storm,.<\/i>\u00a01932, oil on canvas<\/p>\n

From the wall text: “Pelton created this work several days after moving from Long Island to Cathedral City, California, a small community near Palm Springs, where she witnessed a sand storm whose formlessness fascinated her. She described the picture’s central image as a ‘pale, clear blue sky’ ringed with clouds ‘seen through sand.’ The rainbow beneath this image symbolizes the essential benevolence she saw in the universe. For the rest of her life, Pelton derived inspiration from the desert’s vast, spare expanse.”<\/p>\n<\/div>\n

<\/p>\n

<\/a><\/div>\n

<\/p>\n

Sea Change,<\/i>\u00a01931, oil on canvas<\/p>\n

From the wall text: “Pelton’s Sea Change<\/i>\u00a0depicts the movement of water, which the artist regarded as a metaphor for spiritual transformation and the relinquishment of ego. Like many artists of her generation, she was deeply influenced by Wassily Kandinsky and his 1911 book, Concerning the Spiritual in Art.<\/i>\u00a0His theories affirmed her own belief in the inherent spirituality of art, as well as the need to dispense with realism in favor of painting from what the Russian artist called the ‘vibrations of the soul.’ Like Kandinsky, Pelton believed that art communicates the universal energies of both the seen and the unseen world through color, which functions like ‘voice’ or ‘vibration’ filling the viewer’s consciousness. In her journal, she described the blue in this picture as an ’emotive color of astral body and astral wave’ and the work’s pale azure as a ‘mystic blue . . . astral and spiritual.'”<\/p>\n<\/div>\n

. . . . .<\/p>\n

\n

The Art of Raymond Jonson and Emil Bisttram at D. Wigmore
\nFine Art<\/h3>\n

<\/a><\/p>\n

\nInstallation of work by Jonson and Bisttram
Photo from the D. Wigmore Fine Art website<\/p>\n

Bisttram and Jonson were at the center of the Transcendental
\nPainting Group, which they founded in 1938. Pelton joined them when she moved
\nWest. \u201cJoin\u201d is probably the wrong word, because while she shared an affinity
\nwith them, she remained in California, although she maintained a correspondence
\nwith the two.
<\/p>\n

\u201cThe group selected the term \u2018transcendental\u2019\u201d to represent
\nthem because of its universal sense of shared values that eschewed such
\nconcepts as religion, politics, fashion, and commercialism in favor of
\npromoting a sense of the sublime, of connecting to the realm of the spirit.
\nWhile likeminded in their philosophies, the group was an eclectic bunch, with
\ndiffering painting styles, and not all of them lived in New Mexico the entire
\ntime, although the core group did,\u201d wrote Nancy Zimmerman in a magazine found in
\nthe Transcendentalist Archive<\/span><\/b><\/a> maintained by Addison Rowe Gallery in Santa Fe,
\nwhich, like D. Wigmore, retains an inventory of the two artists\u2019 work..<\/p>\n

Both Bisttram and Jonson came to abstraction via realism. By the time they
\nfounded the TSG, \u201cboth had progressed to full abstraction for the purpose of
\ncarrying paintings beyond the physical world through new concepts of space,
\ncolor, light, and design,\u201d writes Deedee Wigmore in her essay for the show. The
\nexhibition of paintings by Bisttram and Jonson at Wigmore are, like Pelton\u2019s,
\nmodestly scaled. To generalize, Bisttram, who worked in encaustic with a very
\nlight hand, focused on hard-edge geometric forms, while Jonson crosshatched
\nwith a fine brush in oil to achieve a uniquely textured surface for his curvilinear
\ncompositions. For work on paper he sometimes used watercolor with an airbrush to
\nemphasize the softness of his shapes.<\/p>\n

\nYou can see the gallery’s full catalog of their work<\/b><\/span><\/a>\u00a0and read Wigmore\u2019s terrifically informative essay<\/b><\/span><\/a>,
\nwhich provides historical background for each artist as well as insight into
\ntheir work. (There\u2019s so much we didn\u2019t learn in art history. Our galleries and museums allow
\nus to continue the study.)<\/p>\n

Here\u2019s a look at some of what I saw.<\/p>\n

\n

\u00a0<\/p>\n

<\/a><\/p>\n<\/div>\n

Raymond Jonson, Synthesis Three,<\/i>\u00a01935, oil on canvas, 20 x 24 inches<\/p>\n

Detail below showing the artist’s particular crosshatched surface<\/p>\n

<\/p>\n
<\/a><\/div>\n<\/div>\n
<\/a><\/div>\n

Raymond Jonson, Watercolor No. 13,<\/i>\u00a01942, watercolor on board ,21.75 x 15.75 inches<\/p>\n

<\/p>\n

<\/a><\/p>\n

Emil Bisttram, Untitled (Place of Emergence),<\/i>\u00a01941, encaustic on paper, 16.5 x 12.75 inches<\/p>\n<\/div>\n

<\/p>\n

<\/a><\/p>\n

Raymond Jonson,\u00a0Oil No. 2,<\/i>\u00a0oil on canvas, 22 x 17 inches<\/p>\n<\/div>\n

<\/a><\/div>\n

Emil Bisttram,\u00a0Untitled (Natural Rotation),<\/i>\u00a01940, encaustic on paper, 10 3\/8 x 7 3\/8 inches<\/p>\n

<\/p>\n

<\/a><\/div>\n
Raymond Jonson, Watercolor No. 21,<\/i>\u00a01941, watercolor on paper, 25.5 x 18.25 inches
Detail below showing the artist’s airbrushed surface<\/div>\n
<\/a><\/div>\n
<\/a><\/div>\n

Emil Bisttram, Geometric Divisions,<\/i>\u00a01939, encaustic on paper, 14.25 x 11 inches<\/p>\n

<\/p>\n
<\/a><\/div>\n<\/div>\n

Raymond Jonson,\u00a0Oil No. 10,<\/i>\u00a01946, oil on canvas, 40 x 40 inches<\/p>\n

<\/a><\/div>\n

Emil Bisttram, Geometric Stop and Go,<\/i>\u00a01947, encaustic on paper, 14.25 x 11 inches<\/p>\n

<\/p>\n

<\/a><\/div>\n

Emil Bisttram,\u00a0Geometric Shapes on Orange,<\/i>\u00a01944, encaustic on peper, 14 x 11 inches<\/p>\n

Detail below, showing the artist’s signature mottled surface<\/p>\n

<\/p>\n

<\/a><\/div>\n

<\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"

Departure, 1952, oil on canvas; visible in installation below Agnes Pelton (1881-1961) was a visionary who sought to express through her painting a realm beyond the physical. The exhibition, Agnes Pelton: Desert Transcendentalist, opened at the Whitney in March as the country went into lockdown, so for much of the run of the show it […]<\/p>\n","protected":false},"author":1,"featured_media":217594,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[6359,82117,70164,82118,82116,1559],"dealstore":[],"offerexpiration":[],"class_list":["post-217593","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","tag-agnes","tag-bisttram","tag-emil","tag-jonson","tag-pelton","tag-raymond"],"yoast_head":"\nAgnes Pelton, Emil Bisttram, and Raymond Jonson: - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=217593\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Agnes Pelton, Emil Bisttram, and Raymond Jonson: - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"Departure, 1952, oil on canvas; visible in installation below Agnes Pelton (1881-1961) was a visionary who sought to express through her painting a realm beyond the physical. The exhibition, Agnes Pelton: Desert Transcendentalist, opened at the Whitney in March as the country went into lockdown, so for much of the run of the show it […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/fivemor.com\/?p=217593\" \/>\n<meta property=\"og:site_name\" content=\"Som2ny Network\" \/>\n<meta property=\"article:published_time\" content=\"2025-05-01T22:04:30+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/fivemor.com\/wp-content\/uploads\/2025\/05\/1.IMG_4759-Copy.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"556\" \/>\n\t<meta property=\"og:image:height\" content=\"630\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/fivemor.com\/?p=217593#article\",\"isPartOf\":{\"@id\":\"https:\/\/fivemor.com\/?p=217593\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\/\/fivemor.com\/#\/schema\/person\/b85e3c3dc0e1daea076524dc8810c371\"},\"headline\":\"Agnes Pelton, Emil Bisttram, and Raymond Jonson:\",\"datePublished\":\"2025-05-01T22:04:30+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/fivemor.com\/?p=217593\"},\"wordCount\":1738,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/fivemor.com\/#organization\"},\"image\":{\"@id\":\"https:\/\/fivemor.com\/?p=217593#primaryimage\"},\"thumbnailUrl\":\"https:\/\/fivemor.com\/wp-content\/uploads\/2025\/05\/1.IMG_4759-Copy.jpg\",\"keywords\":[\"Agnes\",\"Bisttram\",\"Emil\",\"Jonson\",\"Pelton\",\"RAYMOND\"],\"articleSection\":[\"Art\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/fivemor.com\/?p=217593#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/fivemor.com\/?p=217593\",\"url\":\"https:\/\/fivemor.com\/?p=217593\",\"name\":\"Agnes Pelton, Emil Bisttram, and Raymond Jonson: - 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