This study aims to critically examine Crowley's artistic work through several interconnected approaches:

1. The creation of a catalogue raisonne of all known works created by the artist.

2. Analysis of the relationship between Crowley's spiritual philosophy and his artistic practice, particularly during his most productive period (1920-1923).

3. Documentation and interpretation of his symbolic vocabulary and occult references within the context of early 20th-century artistic movements.

4. Examination of his artistic methodology, including automatic drawing and visionary techniques, in relation to contemporary developments in modernist art.

5. Assessment of his influence on subsequent artists working at the intersection of art and spirituality.

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Significance of the Study​

 

This research contributes to several scholarly fields. Within art history, it provides new insights into the relationship between modernist artistic practices and esoteric traditions. For religious studies, it offers a case study in the visual expression of new religious movements. In terms of cultural history, it illuminates an important moment in the development of alternative spirituality and its artistic manifestations.

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The discovery of the Palermo Collection of Crowley's paintings provides unprecedented opportunity for scholarly analysis of his artistic technique and symbolism. This thesis draws upon these newly available primary sources alongside archival materials, including Crowley's diaries and correspondence, to present a comprehensive examination of his artistic-prophetic practice.

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Through careful analysis of Crowley's artwork, writings, and historical context, this study aims to illuminate the complex relationships between artistic creation, spiritual practice, and prophetic expression in early modernism. It seeks to establish a framework for understanding how artists navigate between aesthetic and spiritual concerns while contributing to both artistic and religious innovation.