Search for tag "Painting"
|1976 24 Apr
||The passing of Mark George Tobey (b. December 11, 1890 Centerville, Wisconsin – d. April 24, 1976 Basel, Switzerland) [Bahá'í News page 341, Wiki, VV119]
He had been introduced to the Faith by Bernard Leach. [OPOP223]
Another version is that In 1918 Mark Tobey came in contact with Juliet Thompson and posed for her. During the session Tobey read some Bahá'í literature and accepted an invitation to Green Acre where he converted. [Seitz, William Chapin (1980). Mark Tobey. Ayer Publishing. p. 44]
Tobey was one of the twentieth century’s most cosmopolitan of artists. An inveterate traveler—he eventually settled in Basel, Switzerland—he was always better known in Europe than in his homeland.
His mature ‘white writing’ works are made up of pulsing webs of lines inspired by oriental calligraphy, explicitly acknowledged the direct influence of the Bahá'í Faith on his painting. It has been said that Tobey “made line the symbol of spiritual illumination, human communication and migration, natural form and process, and movement between levels of consciousness.” He often stated, “that there can be no break between nature, art, science, religion, and personal life".
See Bahá'í World 1994-95 pg248 for an article by Anne Boyles entitled "The Language of the Heart: Arts in the Bahá'í World Community" for mention of Mark Tobey.
For his obituary see BW17:401–4.
Towards the end of his life, Tobey was the recipient of some of the highest distinctions that the European art scene of his time could bestow. He won the gold medal at the Venice Biennale in 1958—the first American painter to do so since 1895. In 1961, a major retrospective of his work was held at the Louvre in Paris, an unprecedented achievement for a living and American artist.
See The Journal of Bahá'í Studies, Volume 26, number 4 – Winter 2016 p94 for an article by Anne Gordon Perry entitled Anne Gould Hauberg and Mark Tobey: Lives Lived for Art, Cultivated by Spirit.
An exhibition, Mark Tobey: Threading Light showed at the Peggy Guggenheim Collection, Venice, 6 May to 10 September 2017 and at the Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts, 4 November 2017–11 March 2018.
An example of some of his works.
See World Order Vol 11 No 3 Spring 1977 for the following articles:
- The Days with Mark Tobey by Marzieh Gail
- Mark, Dear Mark by Bernard Leach
- Memories of Mark Tobey by Firuz Kazemzahed
- The Dot and the Circle by Mark Tobey
|Centerville; Wisconsin; United States; Basel; Switzerland
||In Memoriam; Mark Tobey; Bernard Leach; Anne Gould Hauberg; Arts; Painting
from the main catalogue
See all tags, sorted numerically or alphabetically.
- Bahá'u'lláh's Influence on the New York School of Painting: The "Unapprehended Inspiration" of Newman and Rothko, by Ross Woodman, in Journal of Bahá'í Studies, 4:1 (1991). The paintings of New Yorkers Barnett Newman and Mark Rothko may best be understood as a powerful first evidence of what Bahá’u’lláh called “the rising Orb of Divine Revelation, from behind the veil of concealment.” [about]
- Creative Act and the Spirit, The, by Bonnie Wilder, in The Creative Circle, ed. Michael Fitzgerald (1989). Essay on the connections between art and the Bahá'í teachings, from the perspective of personal artistic experience. (First 90% of article only, pages 17-34.) [about]
- Cultural Diversity in the Age of Maturity, by Bahá'u'lláh and Abdu'l-Bahá, in Compilation of Compilations, Volume 3 (2000). [about]
- Images of a 'New Creation' in Twentieth-Century Art, Some, by Julie Badiee, in Journal of Bahá'í Studies, 7:1 (1995). A look at the works of some 20th-century artists to show that, whether they were aware of the Baha’i revelation or not, many of these artists have been compelled to express the quiet, yet unmistakable theme of a "new creation." [about]
- Juliet Thompson: Champion of the Baha'i Faith in New York City, by Hussein Ahdieh (2021-05-06). Essay about the life of Juliet Thompson, a prominent early Bahá'í and friend of 'Abdu'l-Bahá. [about]
- Mark Tobey's City Paintings: Meditations on an Age of Transition, by Julie Badiee, in Journal of Bahá'í Studies, 1:4 (1989). On the evolutionary character of Tobey's "City Paintings" during the decades of the 1930s-50s: they may be understood as modern reinterpretations of the traditional themes of the Apocalypse, Hell, the Day of Judgment, and New Jerusalem — the Bahá'í age. [about]
- Nudity in Art, by Universal House of Justice (2008-07-30). There is no objection to artists depicting the human body from nude models, nor to Bahà’is acting as models; the main consideration is the intention of the artist. [about]
- Numinous Land, The: Examples of sacred geometry and geopiety in formalist and landscape paintings of the prairies, by Kim Ennis (2012-04). Includes many references to the Bahá'í Faith and its influence on contemporary artists. Link to thesis (offsite). [about]
- Perfection and Refinement: Towards an Aesthetics of the Bab, by Moojan Momen, in Lights of Irfan, 12 (2011). The writings of the Bab have implications for the "plastic" arts; significance for native traditions; relevance to the performing arts; and the concept of refinement which comes across in both the person and the writings of the Báb. [about]
- Picture Gallery of Early British Bahá'ís (1998). Published in honor of the UK Bahá'í Centenary, 1998/99. [about]
- Tobey, Mark George, by Judith S. Kays, in American National Biography Online (2000). Tobey (1890-1976) was a famous American painter. [about]
- Views from a Black Artist in the Century of Light, by Elizabeth de Souza, in Journal of Bahá'í Studies, 30:3 (2020). On the experiences of Black artists; biographical notes on McCleary “Bunch” Washington; African-American spiritual songs. [about]
See all locations, sorted numerically or alphabetically.