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Anarchist who found the mystery and the light

Ivan Aguéli+ FÖLJAnarkisten who found the mystique and ljusetCamilla Hammarström on Ivan Aguéli in ThielskaFoto: Åsa Lundén/Moderna Museetbländande Ivan Aguéli,

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Anarchist who found the mystery and the light
Ivan Aguéli+ FÖLJAnarkisten who found the mystique and ljusetCamilla Hammarström on Ivan Aguéli in ThielskaFoto: Åsa Lundén/Moderna Museetbländande Ivan Aguéli, ”Motif from Visby In”, 1892, oil on canvas.ART

Light Ivan Aguéli , the painting does not cease to fascinate. It seems to come from within the things themselves. What is the sun that burns in his universe? After Aguéli himself on a monoteistiskt landscapes where the light is the spirit, who have mastered the matter. Monotheism was important to him, the belief in a supreme being who formats the heavens and the earth and brought forth the light. He found it in islam and in the reading of Emanuel Swedenborg, who in his korrespondenslära mean that everything in the world of the senses are symbols of a spiritual reality.


In her essay The monotheism of the landscape tells Simon Sorgenfrei on how to Use developed his philosophy of religion and theory through the reading of the Emanuel Swedenborg writings. This finds Use in not only a teaching about the light, but also support for the idea of the artist's chosen role as gestaltare of the soul's innermost depths through divine prompting.

in the Spring of 1894, the police arrested the Use by French police of involvement with anarchists. Imprisonment which lasted half a year does not seem to have bothered him significantly, but gave him an opportunity to study the language and religion. By artist friend Werner von Hausen , he ordered quantities of books, everything from a nurse of the Hebrew bible to the titles on church history and the various dictionaries. It is above all in the fängelsebreven to von Hausen as the Sorgenfrei find the keys to the Aguélis swedenborgläsningar.

He suggests that the layered heavens in the Aguéli island gotland landscape can be inspired by Swedenborg's teachings on heaven's nature. One can understand that it is a tempting idea, but he notes at the same time wise enough that you should not read the paintings as rebusar. To the light of Aguéli is of a spiritual kind is not a new thought, but to read about his swedenborgstudier gives, admittedly, the perspective on his oeuvre.

Also at the Thielska Galleriet museum wants to take on the mystique of Aguéli. This lifted Swedenborg korrespondenslära forward as a key to the understanding of the artist's imagery. That what is depicted is a reflection of a greater spiritual reality. It makes me maybe not to see on the pictures in a new way, but it gives depth to the presentation.


the Exhibition is divided in variety of scenery and a room with portraits. Several of the paintings are new acquaintances, as a series of French landscapes. It feels like the air is more moist and the skies airier than what you are accustomed of Aguéli, it seems to have been lushness that interested him. These wet and sensuous images show in a different register of the artist. A more earthly nature.

In the portraits seem to Use often work from a dark ground in which the facial play of light built up. It creates a subtle sense of something underlying, dull glimmering of the eyes and corners of the mouth. A spiritual presence. This is especially clear in the ljusdruckna egyptian portraits with their black eyes. Väggtexten suggest here a connection with Swedenborg's emphasis on love for one's fellow man, whose emotional life is a flow, with the origin of the heavenly spirits and angels. Maybe it was really the glimpse Aguéli wanted to give us in their människoskildringar.


the egyptian the images that Aguéli was painted at the end of their life the ideas of the monotheistic landscape received its absolute completion. The dazzling light reigns supreme. It is matched by a divine sun that rises in the soul is not difficult to imagine. It seems the spirit really permeate the matter in the universe.

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