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VISIONARY REVUE PARIS - SPRING 2003

Towards the end of the Hague years, a new So, the purpose of art was not only to manifest the
theme was announced in his work - a theme that mind’s interior, but focus it into fixed forms. And
would increasingly occupy him for years to come. In through his Hermetic studies, he would elevate those
the late fifties, after nine years of study at the forms into contemplative symbols - into, that is, new
Lectorium Rosicrucianum, Johfra produced his first doorways in the mind for spiritual awakening. An
Hermetic works, such as Pistis Sophia (1959) and important evolution in Johfra’s work had begun.
The Woman of the Apocalypse and the Beast (1961).
In this latter creation, his style of rendering changed
remarkably, manifesting an undeniable visionary
quality.
For the first time, Johfra created a strongly
symmetrical composition with central focus and
strong contrasts of light and dark. As well,
traditional sacred symbols were combined in a
creative way. Granted, the subject matter is taken
from The Book of the Apocalypse (Rev 12:1), but
Johfra’s vision elevates this scene into a blinding
moment of revelation.
During this time, the Mindscapes and drummels
continued, as did the erotic nudes. But now, a new
form had emerged from his mind’s interior. Not
only had his ever-flowing mindstuff become focused
onto a unified shape, but the strong symmetry,
contrast, and symbolism in this work had now fixed
it into an image of contemplation.

THE WOMAN OF THE APOCALYPSE AND THE BEAST

(1961)
(De apocalyptische vrouw en het beest)

PISTIS SOPHIA
1959
(For more information on this painting,
see the article: The Hermetic Johfra).

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