‘Something Completely New in Art’: Aleister Crowley’s Influence on Frieda Harris’s Artistic Development

Abstract

According to writer and poet Charles Cammell (1890–1968), Aleister Crowley (1875–1947) believed that through his influence and guidance, he could significantly improve an artist’s nascent abilities. Crowley claimed success for the musical achievements of Leila Waddell (1880–1932), the poetry of Victor Neuburg (1883–1940) and the artistic talents of Frieda, Lady Harris, née Bloxam (1877–1962). In 1938, Crowley invited Harris to illustrate The Book of Thoth, his last major magical work, designating her “artist executant.” Their partnership extended far beyond the requirements of the Thoth Tarot paintings: not only did Harris become Crowley’s magical pupil; they formed a strong and enduring friendship that lasted to the end of Crowley’s life. Harris had already achieved moderate success as an artist, but Crowley showed her how she could express esoteric concepts in her paintings, thereby creating “something completely new in art” (Harris to Crowley, Letter, 10 December 1940). Harris’s correspondence with Crowley shows that she eagerly embraced his guidance, determined to manifest the Tarot images in accordance with his vision. At the same time, she applied the same techniques to her own works and came to the realisation that art was the true basis of her spiritual path. Using extracts from Crowley’s and Harris’s correspondence, Crowley’s diary entries, and examples of Harris’s artwork, this article will argue that in the case of Frieda Harris, Crowley did indeed draw out her nascent artistic skills, and in doing so, enabled her to manifest Tarot designs, which on his own admission, “any given card is something beyond anything I had ever contemplated” (Crowley to Harris, Letter, 25 January 1939).