Visionary Light Painters
Blake and Francisco de Holanda
One of the greatest achievements of artists is to show the knowledge, understanding and consciousness of their own era. Holanda's geometric vision of cosmic creation, which must have been ‘out of this world’ in 1545, shows the great interest in science, whilst still including 'God the creator'.
The First Day of Creation, by Francisco de Holanda (1545)
Holanda uses spectacular overlapping triangles of light leading into a vortex, creating the world with atmosphere. Now we know the universe is electric, it makes perfect sense. Holando's work was only discovered in mid-20th century in an obscure notebook in National Library of Spain. Its clear he was profoundly influenced by visionary contemporary philosopher Jacob Boehme; whom Blake also revered.
Light as Life Force
Holanda combines the human figure as ethereal God with power of light in 'Light of Creation' with Alpha and Omega at his fingertips; a purist Biblical vision, but combining the advancing knowledge of physics. We can interpret this image today as a fine depiction of the electric universe, which science is still catching up with. The figure of 'God' is neither here nor there in being either correct or incorrect: it serves as a symbol of divine creation.
Both Blake and Holanda were visionary painters of both human and cosmic energy, aware of developments in cosmology and mathematics in attempting to understand the creation of the universe.
Blake (with his knowledge of modern politics and Freemasons even in 1800s ) takes the idea of the Sun as God (Pagan origins worldwide) in 'Satan In His Original Glory' 1805; Subtitled 'Thou Wast Perfect in Thy Ways from the Day That Thou Was Created, Till Iniquity Was Found in Thee” as the outcome of total rationalisation. The sun is beautifully depicted by a body in golden light, but around it are humanity being tossed about in the Sun's power. Despite the worship of the Sun throughout mankind's history, as life giver, Blake saw the weakness in single minded cults, and was right to be concerned, now we know science has run amok which is far removed from the natural environment Blake so revered in his poetry.
Blake is aware of the 'Luciferian' god of light of the Illuminati Order, known to Blake through his knowledge of Freemasonry, with lineage from Zoroastrian and Babylonian 'sun god'. For Blake, focusing on 'light' as a divinity is a mistaken frame of mind, which has been used to control mankind for all time. The Sun-Satan holds the royal orb and sceptre of control, with all of human activity floating in its wake, after the French Revolution. Blake reverses the hands holding the orb and sceptre, indicating the fall of Christianity and Kings: easily relatable to British vs America war.
Today we could interpret Blake's painting as the disguise of bio-techno-Satanists introducing genetic modification for their idea of a great new future of Luciferian transhumanism, with the people as flotsam and jetsom surviving under the controls of technocracy which holds all the controls over science. Blake's work was moving towards consciousness of human spirit.
Both Blake and Holanda depict a dark red background orb, the heat of energy or the sun, as seen similarly in Blake's Ancient of Days, which also depicts geometric ordering, or measuring. The architect's tool is again forming the triangle.
Photo author's own from Blake exhibition Tate Gallery, London 2020, shows accurate colours.