Thought Forms (book) - Revision history

SysopJ: /* Influence on art */

2022-10-28T20:16:45Z

Influence on art

← Older revision		Revision as of 20:16, 28 October 2022
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	== Influence on art ==		== Influence on art ==

	The influence of ''Thought Forms'' on artists is a rich area of study by modern scholars, and has been much discussed in academic events such as the Enchanted Modernities conferences. There is no question that [[Wassily Kandinsky]], [[Piet Mondrian]], [[Paul Klee]], and other visual artists were inspired by the images presented by Besant and Leadbeater.		The influence of ''Thought Forms'' on artists is a rich area of study by modern scholars, and has been much discussed in academic events such as the Enchanted Modernities conferences. There is no question that [[Wassily Kandinsky]], [[Piet Mondrian]], [[Paul Klee]], Judy Chicago, and other visual artists were inspired by the images presented by Besant and Leadbeater.

	Richard Smoley wrote of the book:		Richard Smoley wrote of the book:

SysopJ: /* Events featuring this book */

2022-09-20T02:39:15Z

Events featuring this book

← Older revision		Revision as of 02:39, 20 September 2022
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	The '''Beatrice Wood Center for the Arts''' held a 3-day workshop with lectures by Richard Flores and Kevin Wallace on April 12-14, 2013:		The '''Beatrice Wood Center for the Arts''' held a 3-day workshop with lectures by Richard Flores and Kevin Wallace on April 12-14, 2013:
	<blockquote>		<blockquote>
	This three-day workshop is based upon Thought Forms, the 1901 book by Annie Besant and Charles Leadbeater that inspired Wassily Kandinsky, Piet Mondrian, Paul Klee and countless other artists. Participants will explore the ideas that pre-date and inspired abstract painting through insights into the processes of seeing and recording impressions in form and color.<ref>"Thought Forms," Beatrice Wood Center for the Arts at [http://www.beatricewood.com/workshops/thought_forms_workshop.html Beatrice Wood Center website]. Accessed January 13, 2016. See also [http://bienal.iksv.org/en Biennial website.]</ref>		This three-day workshop is based upon Thought Forms, the 1901 book by [[Annie Besant]] and [[Charles Webster Leadbeater\|Charles Leadbeater]] that inspired [[Wassily Kandinsky]], [[Piet Mondrian]], [[Paul Klee]] and countless other artists. Participants will explore the ideas that pre-date and inspired abstract painting through insights into the processes of seeing and recording impressions in form and color.<ref>"Thought Forms," Beatrice Wood Center for the Arts at [http://www.beatricewood.com/workshops/thought_forms_workshop.html Beatrice Wood Center website]. Accessed January 13, 2016. See also [http://bienal.iksv.org/en Biennial website.]</ref>
	</blockquote>		</blockquote>

SysopJ: /* Publication history */

2020-05-26T18:39:25Z

Publication history

← Older revision		Revision as of 18:39, 26 May 2020
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	The first edition of ''Thought-Forms'' came out in 1905. It was published in London and Benares by the [[Theosophical Publishing Society (London)\|Theosophical Publishing Society]], and in New York by John Lane. In the United States, the book was distributed by the [[Theosophical Book Concern]] of Chicago. The volume was hardbound in both green and red covers.		The first edition of ''Thought-Forms'' came out in 1905. It was published in London and Benares by the [[Theosophical Publishing Society (London)\|Theosophical Publishing Society]], and in New York by John Lane. In the United States, the book was distributed by the [[Theosophical Book Concern]] of Chicago. The volume was hardbound in both green and red covers.

	When the next edition was published in 1925 by the [[Theosophical Publishing House (London)\|Theosophical Publishing House]], it incorrectly stated "First Printed 1901 - Reprint 1905 - Reprint 1925." John L. Crow wrote an account of how this error was propagated through subsequent editions and library catalogs. "Why the date of 1901 was introduced is unknown. Kurt Leland, an Annie Besant specialist, theorized that the publishers were confused by Besant's publication, ''Thought Power'', which was published in 1901."<ref>John L. Crow, "''Thought Forms'': A Bibliographic Error," ''Theosophical History 16.3-4 (July-October 2012), 126-127.</ref>		When the next edition was published in 1925 by the [[Theosophical Publishing House (London)\|Theosophical Publishing House]], it incorrectly stated "First Printed 1901 - Reprint 1905 - Reprint 1925." John L. Crow wrote an account of how this error was propagated through subsequent editions and library catalogs. "Why the date of 1901 was introduced is unknown. Kurt Leland, an Annie Besant specialist, theorized that the publishers were confused by Besant's publication, ''Thought Power'', which was published in 1901."<ref>John L. Crow, "''Thought Forms'': A Bibliographic Error," ''Theosophical History'' 16.3-4 (July-October 2012), 126-127.</ref>

	In 1933, 1948, 1961, and 1967, the book was reprinted by the [[Theosophical Publishing House (Adyar)\|Theosophical Publishing House]] in Adyar, India. The [[Theosophical Publishing House (Wheaton)\|Theosophical Publishing House]] in Wheaton, Illinois reprinted the work in 1969, in 1971, 1975, 1986, and 1999.		In 1933, 1948, 1961, and 1967, the book was reprinted by the [[Theosophical Publishing House (Adyar)\|Theosophical Publishing House]] in Adyar, India. The [[Theosophical Publishing House (Wheaton)\|Theosophical Publishing House]] in Wheaton, Illinois reprinted the work in 1969, in 1971, 1975, 1986, and 1999.

Janet Kerschner: /* Influence on art */

2017-03-24T19:16:41Z

Influence on art

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	</blockquote>		</blockquote>

	Modern artists and art historians have often interpreted this book entirely in the context of art, whereas the authors never intended to suggest their forms and correspondences as tools for artistic expression. Their work was aimed, rather, at demonstrating how clairvoyants perceive emotions in the human aura. This quotation, for example, by a respected academic implies that Besant and Leadbeater were trying to present a blueprint of correspondences for use by artists:		Modern artists and art historians have often interpreted this book entirely in the context of art, whereas '''the authors never intended to suggest their forms and correspondences as tools for artistic expression. Their work was aimed, rather, at demonstrating how clairvoyants perceive emotions in the human aura.''' This quotation, for example, by a respected academic implies that Besant and Leadbeater were trying to present a blueprint of correspondences for use by artists:
	<blockquote>		<blockquote>
	From a theoretical point of view, this book is essential for understanding the collaboration between theosophical artists. In and of itself, the idea was not new. Throughout the nineteenth century—from Goethe to Richard Wagner, Charles Baudelaire, and Arthur Rimbaud — intellectuals had imagined a general system of correspondences between sounds, colors, and shapes. Ultimately, the hope was to produce a comprehensive oeuvre that, beyond its aesthetic qualities, would resonate, from an esoteric point of view, with the arcane, thanks to a network of correspondences between the elements of the oeuvre. Rather utopic and often reduced to a simple game of analogies, this project was realized in theosophical theories and particularly in the work of Besant and Leadbeater. The book furnished artists with easily used tables of correspondence between colors, emotions, and sounds... At the same time, the authors left the artists great liberty. In general, the plates in the book were limited to presenting examples of shapes, often abstract and colored, corresponding to musical themes... These recall the abstract compositions that [[Paul Klee\|Klee]] and [[Wassily Kandinsky\|Kandinsky]] created in later years. In this manner, the book by Besant and Leadbeater stimulated theosophical artists to collaborate — the Symbolists found in it an extension of the Wagnerian ''Gesamtkunstwerk'', and the avant-garde artists saw the possibility of treating the correspondences within an abstract perspective.<ref>Sébastien Clerbois, "In Search of the Forme-Pensée: The Influence of Theosophy on Belgian Artists, Between Symbolism and the Avant-Garde (1890–1910)" at [http://www.19thc-artworldwide.org/spring05/82-autumn02/autumn02article/259-in-search-of-the-forme-pensee-the-influence-of-theosophy-on-belgian-artists-between-symbolism-and-the-avant-garde-1890-1910 19thc-Artworldwid.org website.]</ref>		From a theoretical point of view, this book is essential for understanding the collaboration between theosophical artists. In and of itself, the idea was not new. Throughout the nineteenth century—from Goethe to Richard Wagner, Charles Baudelaire, and Arthur Rimbaud — intellectuals had imagined a general system of correspondences between sounds, colors, and shapes. Ultimately, the hope was to produce a comprehensive oeuvre that, beyond its aesthetic qualities, would resonate, from an esoteric point of view, with the arcane, thanks to a network of correspondences between the elements of the oeuvre. Rather utopic and often reduced to a simple game of analogies, this project was realized in theosophical theories and particularly in the work of Besant and Leadbeater. The book furnished artists with easily used tables of correspondence between colors, emotions, and sounds... At the same time, the authors left the artists great liberty. In general, the plates in the book were limited to presenting examples of shapes, often abstract and colored, corresponding to musical themes... These recall the abstract compositions that [[Paul Klee\|Klee]] and [[Wassily Kandinsky\|Kandinsky]] created in later years. In this manner, the book by Besant and Leadbeater stimulated theosophical artists to collaborate — the Symbolists found in it an extension of the Wagnerian ''Gesamtkunstwerk'', and the avant-garde artists saw the possibility of treating the correspondences within an abstract perspective.<ref>Sébastien Clerbois, "In Search of the Forme-Pensée: The Influence of Theosophy on Belgian Artists, Between Symbolism and the Avant-Garde (1890–1910)" at [http://www.19thc-artworldwide.org/spring05/82-autumn02/autumn02article/259-in-search-of-the-forme-pensee-the-influence-of-theosophy-on-belgian-artists-between-symbolism-and-the-avant-garde-1890-1910 19thc-Artworldwid.org website.]</ref>

Janet Kerschner: /* Influence on art */

2017-01-05T02:44:15Z

Influence on art

← Older revision		Revision as of 02:44, 5 January 2017
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	Modern artists and art historians have often interpreted this book entirely in the context of art, whereas the authors never intended to suggest their forms and correspondences as tools for artistic expression. Their work was aimed, rather, at demonstrating how clairvoyants perceive emotions in the human aura. This quotation, for example, by a respected academic implies that Besant and Leadbeater were trying to present a blueprint of correspondences for use by artists:		Modern artists and art historians have often interpreted this book entirely in the context of art, whereas the authors never intended to suggest their forms and correspondences as tools for artistic expression. Their work was aimed, rather, at demonstrating how clairvoyants perceive emotions in the human aura. This quotation, for example, by a respected academic implies that Besant and Leadbeater were trying to present a blueprint of correspondences for use by artists:
	<blockquote>		<blockquote>
	From a theoretical point of view, this book is essential for understanding the collaboration between theosophical artists. In and of itself, the idea was not new. Throughout the nineteenth century—from Goethe to Richard Wagner, Charles Baudelaire, and Arthur Rimbaud — intellectuals had imagined a general system of correspondences between sounds, colors, and shapes. Ultimately, the hope was to produce a comprehensive oeuvre that, beyond its aesthetic qualities, would resonate, from an esoteric point of view, with the arcane, thanks to a network of correspondences between the elements of the oeuvre. Rather utopic and often reduced to a simple game of analogies, this project was realized in theosophical theories and particularly in the work of Besant and Leadbeater. The book furnished artists with easily used tables of correspondence between colors, emotions, and sounds... At the same time, the authors left the artists great liberty. In general, the plates in the book were limited to presenting examples of shapes, often abstract and colored, corresponding to musical themes... These recall the abstract compositions that [[Paul Klee\|Klee]] and [[Wassily Kandinsky\|Kandinsky]] created in later years. In this manner, the book by Besant and Leadbeater stimulated theosophical artists to collaborate — the Symbolists found in it an extension of the Wagnerian ''Gesamtkunstwerk'', and the avant-garde artists saw the possibility of treating the correspondences within an abstract perspective.<ref>Sébastien Clerbois, "In Search of the Forme-Pensée: The Influence of Theosophy on Belgian Artists, Between Symbolism and the Avant-Garde (1890–1910)" at [http://www.19thc-artworldwide.org/spring05/82-autumn02/autumn02article/259-in-search-of-the-forme-pensee-the-influence-of-theosophy-on-belgian-artists-between-symbolism-and-the-avant-garde-1890-1910 19thc-Artworldwid.org website.</ref>		From a theoretical point of view, this book is essential for understanding the collaboration between theosophical artists. In and of itself, the idea was not new. Throughout the nineteenth century—from Goethe to Richard Wagner, Charles Baudelaire, and Arthur Rimbaud — intellectuals had imagined a general system of correspondences between sounds, colors, and shapes. Ultimately, the hope was to produce a comprehensive oeuvre that, beyond its aesthetic qualities, would resonate, from an esoteric point of view, with the arcane, thanks to a network of correspondences between the elements of the oeuvre. Rather utopic and often reduced to a simple game of analogies, this project was realized in theosophical theories and particularly in the work of Besant and Leadbeater. The book furnished artists with easily used tables of correspondence between colors, emotions, and sounds... At the same time, the authors left the artists great liberty. In general, the plates in the book were limited to presenting examples of shapes, often abstract and colored, corresponding to musical themes... These recall the abstract compositions that [[Paul Klee\|Klee]] and [[Wassily Kandinsky\|Kandinsky]] created in later years. In this manner, the book by Besant and Leadbeater stimulated theosophical artists to collaborate — the Symbolists found in it an extension of the Wagnerian ''Gesamtkunstwerk'', and the avant-garde artists saw the possibility of treating the correspondences within an abstract perspective.<ref>Sébastien Clerbois, "In Search of the Forme-Pensée: The Influence of Theosophy on Belgian Artists, Between Symbolism and the Avant-Garde (1890–1910)" at [http://www.19thc-artworldwide.org/spring05/82-autumn02/autumn02article/259-in-search-of-the-forme-pensee-the-influence-of-theosophy-on-belgian-artists-between-symbolism-and-the-avant-garde-1890-1910 19thc-Artworldwid.org website.]</ref>
	</blockquote>		</blockquote>

Janet Kerschner: /* Influence on art */

2017-01-05T02:43:28Z

Influence on art

← Older revision		Revision as of 02:43, 5 January 2017
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	</blockquote>		</blockquote>

	Modern ~~Swedish artist~~ '''~~Christine Ödlund~~'~~'' works with thought forms~~ in ~~multi~~-~~media installations~~.		Modern artists and art historians have often interpreted this book entirely in the context of art, whereas the authors never intended to suggest their forms and correspondences as tools for artistic expression. Their work was aimed, rather, at demonstrating how clairvoyants perceive emotions in the human aura. This quotation, for example, by a respected academic implies that Besant and Leadbeater were trying to present a blueprint of correspondences for use by artists:
			<blockquote>
			From a theoretical point of view, this book is essential for understanding the collaboration between theosophical artists. In and of itself, the idea was not new. Throughout the nineteenth century—from Goethe to Richard Wagner, Charles Baudelaire, and Arthur Rimbaud — intellectuals had imagined a general system of correspondences between sounds, colors, and shapes. Ultimately, the hope was to produce a comprehensive oeuvre that, beyond its aesthetic qualities, would resonate, from an esoteric point of view, with the arcane, thanks to a network of correspondences between the elements of the oeuvre. Rather utopic and often reduced to a simple game of analogies, this project was realized in theosophical theories and particularly in the work of Besant and Leadbeater. The book furnished artists with easily used tables of correspondence between colors, emotions, and sounds... At the same time, the authors left the artists great liberty. In general, the plates in the book were limited to presenting examples of shapes, often abstract and colored, corresponding to musical themes... These recall the abstract compositions that [[Paul Klee\|Klee]] and [[Wassily Kandinsky\|Kandinsky]] created in later years. In this manner, the book by Besant and Leadbeater stimulated theosophical artists to collaborate — the Symbolists found in it an extension of the Wagnerian ''Gesamtkunstwerk'', and the avant-garde artists saw the possibility of treating the correspondences within an abstract perspective.<ref>Sébastien Clerbois, "In Search of the Forme-Pensée: The Influence of Theosophy on Belgian Artists, Between Symbolism and the Avant-Garde (1890–1910)" at [http://www.19thc-artworldwide.org/spring05/82-autumn02/autumn02article/259-in-search-of-the-forme-pensee-the-influence-of-theosophy-on-belgian-artists-between-symbolism-and-the-avant-garde-1890-1910 19thc-Artworldwid.org website.</ref>
			</blockquote>

	A closely related book, Besant's 1901 ''Thought Power: Its Control and Culture,'' was owned and heavily annotated by '''Sun Ra''', the experimental jazz musician and cosmic philosopher.<ref>Lori Waxman, "The Thing about Feelings: The Radical Notions of Annie Besant" ''The Chicago Tribune'' February 10, 2016.</ref>		Here are more recent examples of the influence of Besant, Leadbeater, and ''Thought Forms'':
			* Modern Swedish artist '''Christine Ödlund''' works with thought forms in multi-media installations.
			* A closely related book, Besant's 1901 ''Thought Power: Its Control and Culture,'' was owned and heavily annotated by '''Sun Ra''', the experimental jazz musician and cosmic philosopher.<ref>Lori Waxman, "The Thing about Feelings: The Radical Notions of Annie Besant" ''The Chicago Tribune'' February 10, 2016.</ref>

	== Events featuring this book ==		== Events featuring this book ==

Janet Kerschner: /* Publication history */

2017-01-05T02:17:56Z

Publication history

← Older revision		Revision as of 02:17, 5 January 2017
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	In 1933, 1948, 1961, and 1967, the book was reprinted by the [[Theosophical Publishing House (Adyar)\|Theosophical Publishing House]] in Adyar, India. The [[Theosophical Publishing House (Wheaton)\|Theosophical Publishing House]] in Wheaton, Illinois reprinted the work in 1969, in 1971, 1975, 1986, and 1999.		In 1933, 1948, 1961, and 1967, the book was reprinted by the [[Theosophical Publishing House (Adyar)\|Theosophical Publishing House]] in Adyar, India. The [[Theosophical Publishing House (Wheaton)\|Theosophical Publishing House]] in Wheaton, Illinois reprinted the work in 1969, in 1971, 1975, 1986, and 1999.

	Translations have been published in German and ~~Slovenian~~.		Translations have been published in German, French, Japanese, Slovenian, and probably other languages.

	== Digital versions ==		== Digital versions ==

Janet Kerschner at 20:06, 3 March 2016

2016-03-03T20:06:50Z

← Older revision		Revision as of 20:06, 3 March 2016
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	{{DISPLAYTITLE:''Thought Forms'' (book)}}		{{DISPLAYTITLE:''Thought Forms'' (book)}}
			[[File:Thought Forms cover.jpg\|right\|170px\|thumb\|Quest Books edition of ''Thought Forms'']]
	'''''Thought Forms''''' was a book written by [[Annie Besant]] and [[Charles Webster Leadbeater]] in 1905 on the titular subject of [[Thought-Forms]].		'''''Thought Forms''''' was a book written by [[Annie Besant]] and [[Charles Webster Leadbeater]] in 1905 on the titular subject of [[Thought-Forms]].

Janet Kerschner: /* Influence on art */

2016-03-03T16:55:43Z

Influence on art

← Older revision		Revision as of 16:55, 3 March 2016
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	== Influence on art ==		== Influence on art ==
	~~<b>THIS SECTION UNDER CONSTRUCTION</b><br>~~
	~~<b>THIS SECTION UNDER CONSTRUCTION</b><br>~~		The influence of ''Thought Forms'' on artists is a rich area of study by modern scholars, and has been much discussed in academic events such as the Enchanted Modernities conferences. There is no question that [[Wassily Kandinsky]], [[Piet Mondrian]], [[Paul Klee]], and other visual artists were inspired by the images presented by Besant and Leadbeater.
	The influence of ''Thought Forms'' on artists is a rich area of study by modern scholars, and has been much discussed in events such as the Enchanted Modernities conferences. There is no question that [[Wassily Kandinsky]], [[Piet Mondrian]], [[Paul Klee]], and other visual artists were inspired by the images presented by Besant and Leadbeater.

	Richard Smoley wrote of the book:		Richard Smoley wrote of the book:

Janet Kerschner at 15:23, 3 March 2016

2016-03-03T15:23:38Z

← Older revision		Revision as of 15:23, 3 March 2016
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	A number of drawings, paintings, installations, films, objects, books, collaborations, and research-based events will be viewable as thought forms – waves or oscillating patterns of repeating and differing lines that structure and enfold all forms of transference of energy – from brain waves to shockwaves after an explosion, from sound waves and waves of water to electromagnetic waves of different lengths and frequencies, including radio waves and light.<ref>Carolyn Christov-Bakargiev, "Saltwater: A Theory of Thought Forms." April 4, 2015. Istanbul Foundation for Culture and the Arts website. [http://bienal.iksv.org/en/archive/newsarchive/p/1/1139 IKSV Bienal].</ref>		A number of drawings, paintings, installations, films, objects, books, collaborations, and research-based events will be viewable as thought forms – waves or oscillating patterns of repeating and differing lines that structure and enfold all forms of transference of energy – from brain waves to shockwaves after an explosion, from sound waves and waves of water to electromagnetic waves of different lengths and frequencies, including radio waves and light.<ref>Carolyn Christov-Bakargiev, "Saltwater: A Theory of Thought Forms." April 4, 2015. Istanbul Foundation for Culture and the Arts website. [http://bienal.iksv.org/en/archive/newsarchive/p/1/1139 IKSV Bienal].</ref>
	</blockquote>		</blockquote>
			[[File:Intention to Know exhibit.jpg\|right\|340px\|thumb\|"Intention to Know" exhibit, February 27, 2016.]]
	Subsequently, a portion of the Turkish exhibit was displayed as '''Intention to Know: The Thought Forms of Annie Besant''', an exhibit presented from December 29, 2015 through March 1, 2016 at the Stony Island Arts Bank in Chicago following the run in Turkey. The display was conceived by Carolyn Christov-Bakargiev in cooperation with Theaster Gates and the Rebuild Foundation.		Subsequently, a portion of the Turkish exhibit was displayed as '''Intention to Know: The Thought Forms of Annie Besant''', an exhibit presented from December 29, 2015 through March 1, 2016 at the Stony Island Arts Bank in Chicago following the run in Turkey. The display was conceived by Carolyn Christov-Bakargiev in cooperation with Theaster Gates and the Rebuild Foundation.
	<blockquote>		<blockquote>

← Older revision		Revision as of 18:39, 26 May 2020
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	The first edition of ''Thought-Forms'' came out in 1905. It was published in London and Benares by the [[Theosophical Publishing Society (London)\|Theosophical Publishing Society]], and in New York by John Lane. In the United States, the book was distributed by the [[Theosophical Book Concern]] of Chicago. The volume was hardbound in both green and red covers.		The first edition of ''Thought-Forms'' came out in 1905. It was published in London and Benares by the [[Theosophical Publishing Society (London)\|Theosophical Publishing Society]], and in New York by John Lane. In the United States, the book was distributed by the [[Theosophical Book Concern]] of Chicago. The volume was hardbound in both green and red covers.

	When the next edition was published in 1925 by the [[Theosophical Publishing House (London)\|Theosophical Publishing House]], it incorrectly stated "First Printed 1901 - Reprint 1905 - Reprint 1925." John L. Crow wrote an account of how this error was propagated through subsequent editions and library catalogs. "Why the date of 1901 was introduced is unknown. Kurt Leland, an Annie Besant specialist, theorized that the publishers were confused by Besant's publication, ''Thought Power'', which was published in 1901."<ref>John L. Crow, "''Thought Forms'': A Bibliographic Error," ''Theosophical History 16.3-4 (July-October 2012), 126-127.</ref>		When the next edition was published in 1925 by the [[Theosophical Publishing House (London)\|Theosophical Publishing House]], it incorrectly stated "First Printed 1901 - Reprint 1905 - Reprint 1925." John L. Crow wrote an account of how this error was propagated through subsequent editions and library catalogs. "Why the date of 1901 was introduced is unknown. Kurt Leland, an Annie Besant specialist, theorized that the publishers were confused by Besant's publication, ''Thought Power'', which was published in 1901."<ref>John L. Crow, "''Thought Forms'': A Bibliographic Error," ''Theosophical History'' 16.3-4 (July-October 2012), 126-127.</ref>

	In 1933, 1948, 1961, and 1967, the book was reprinted by the [[Theosophical Publishing House (Adyar)\|Theosophical Publishing House]] in Adyar, India. The [[Theosophical Publishing House (Wheaton)\|Theosophical Publishing House]] in Wheaton, Illinois reprinted the work in 1969, in 1971, 1975, 1986, and 1999.		In 1933, 1948, 1961, and 1967, the book was reprinted by the [[Theosophical Publishing House (Adyar)\|Theosophical Publishing House]] in Adyar, India. The [[Theosophical Publishing House (Wheaton)\|Theosophical Publishing House]] in Wheaton, Illinois reprinted the work in 1969, in 1971, 1975, 1986, and 1999.