By Tobias Churton
• Examines Crowley’s specialise in his artwork, his paintings as a undercover agent for British Intelligence, his colourful love existence and intercourse magick exploits, and his contacts with magical orders
• Explores Crowley’s relationships with Berlin’s artists, filmmakers, writers, and performers reminiscent of Christopher Isherwood, Jean Ross, and Aldous Huxley
• Recounts the fates of Crowley’s pals and co-workers lower than the Nazis in addition to what occurred to Crowley’s misplaced paintings exhibition
Gnostic poet, painter, author, and magician Aleister Crowley arrived in Berlin on April 18, 1930. As prophet of his syncretic faith “Thelema,” he desired to be one of the leaders of artwork and idea, and Berlin, the liberated future-gazing city, sought after him. There he may stay, until eventually his moved quickly departure on June 22, 1932, as Hitler was once swiftly emerging to energy and the black curtain of intolerance got here down upon town.
Known to his buddies affectionately as “The Beast,” Crowley observed the last lighting fixtures of Berlin’s inventive renaissance of the Weimar interval whilst Berlin performed host to some of the world’s most eminent artists, writers, filmmakers, performers, composers, architects, philosophers, and scientists, together with Albert Einstein, Bertolt Brecht, Ethel Mannin, Otto Dix, Aldous Huxley, Jean Ross, Christopher Isherwood, and plenty of different luminaries of a glittering global quickly to be trampled into the dust via the worldwide massacre of worldwide conflict II.
Drawing on formerly unpublished letters and diary fabric via Crowley, Tobias Churton examines Crowley’s years in Berlin and his severe specialise in his paintings, his paintings as a undercover agent for British Intelligence, his colourful love lifestyles and intercourse magick exploits, and his contacts with German Theosophy, Freemasonry, and magical orders. He recounts the fates of Crowley’s colleagues less than the Nazis in addition to what occurred to Crowley’s misplaced paintings exhibition--six crates of work left at the back of in Germany because the Gestapo used to be final in. Revealing the genuine Crowley lengthy hidden from the ancient list, Churton offers “the Beast” anew in all his ambiguous and, for a few, terrifying glory, at a blazing, seminal second within the heritage of the world.
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Extra info for Aleister Crowley: The Beast in Berlin: Art, Sex, and Magick in the Weimar Republic
Aleister Crowley: The Beast in Berlin: Art, Sex, and Magick in the Weimar Republic by Tobias Churton