Austin Osman Spare: Pioneering Automatic Drawing in the Occult Arts

Austin Osman Spare, born in 1886, emerged as a trailblazer in the realm of occultism, leaving an indelible mark through his innovative approach to automatic drawing. A gifted artist and psychic, Spare's exploration of the mystical and the creative gave rise to a unique body of work that significantly departed from the conventions of his time.

Spare's journey into the world of automatic drawing was influenced by his early exposure to Eastern mysticism, Theosophy, and Spiritualism. Of particular importance was the concept of 'automatism,' a key element in the development of Spare's distinctive modus operandi. Automatism, in the context of art, refers to the subconscious and spontaneous creation of images, bypassing conscious control. This approach became central to Spare's artistic practice, setting him apart from his contemporaries in the occult and art communities.

At the tender age of fourteen, Spare's artistic talent garnered attention when a drawing he created was accepted into the prestigious Royal Academy Summer show in 1904. This early recognition marked the beginning of Spare's public exposure and propelled him into the limelight. The subsequent year saw the publication of his first book, "Earth: Inferno," which served as a powerful declaration of Spare's mystical and polemic agenda.

The years between 1909 and 1913 are considered Spare's golden era, marked by West End exhibitions and private commissions. However, it was the publication of his masterpiece, "The Book of Pleasure," in 1913 that solidified his status as a pioneer in esoteric studies. In this work, inspired by his marriage to actress Eily Gertrude Shaw, Spare presented a visionary approach to magic that discarded conventional notions of ritual praxis. Central to his creative process was the practice of automatic drawing, an integral aspect of his mystical pursuits.

Automatic drawing involves allowing the hand to move freely across the canvas or paper, guided by the subconscious rather than conscious thought. For Spare, this process was not just an artistic technique but a means of tapping into the deeper recesses of the mind and connecting with spiritual forces. The resulting images were often intricate, symbolic, and laden with mystical significance.

As World War I unfolded, Spare's marriage faced challenges, and financial difficulties ensued. His artistic refusal to compromise and the publication of "The Focus of Life" in 1921, featuring sensual pencil nudes, likely contributed to the strain on his personal life. The subsequent years marked a period of introspection for Spare, and by the 1920s, he found himself out of step and alienated from London's art society.

The 1930 exhibition at the Godfrey Philips Gallery, titled "Experiments in Relativity," marked a shift in Spare's focus. Despite being his last West End show for nearly two decades, it showcased beautiful elongated portraits of women and film stars. Financial struggles persisted, and by the 1940s, Spare faced the destruction of his studio during the Blitz.

Salvation came unexpectedly through an old sweetheart, Ada Millicent Pain, inspiring Spare to renew his artistic efforts. The arrival of Surrealism in London in 1936 provided added impetus. As he transitioned to pastels due to declining abilities in fine ink and pencil drawings, Spare's exhibitions in the late 1930s received significant press coverage.

The post-war period marked a resurgence in Spare's artistic career. The 1947 exhibition at the Archer Gallery, orchestrated by his friend Dennis Bardens, was a near sell-out, signaling a remarkable renaissance. Inspired by figures like Kenneth Grant and assisted by friends, Spare's exhibitions in the early 1950s showcased a mature artist of incredible vigor and imaginative power.

Throughout his career, automatic drawing remained a constant thread in Spare's mystical and artistic tapestry. It was not merely a technique but a spiritual practice, a method of communion with the subconscious and the divine. Spare's legacy as a pioneer of automatic drawing endures, influencing subsequent generations of artists and occultists who continue to explore the mystical potential of spontaneous and subconscious creation.