Filipino American among the World’s FOREMOST SUREALIST ARTISTS By Phillip Somozo
MEET THE Filipino surrealist painter who is specially honored by the man who resurrected the greatest classic English epic poem Paradise Lost in this modern age.
The huge book (size 13 x 19 inches) is the elephant folio of Terrance Lindall, the most passionate, prolific, and widely-read illustrator of John Milton’s eternal masterpiece. It contains fourteen full-page, full-color, 1000 dpi artwork prints, with 23.75-carat gold- leaf edging.
Miltonia collector Robert J. Wickenheiser, Ph.D., built up over a thirty-five year period his Miltoniana of more than 6,000 volumes, including more than sixty Paradise Lost first editions. Its special focus on illustrated editions makes it one of the great Milton collections in the world. It was exhibited during the time Lindall turned over a copy (one of only two) of his elephant folio to the Yuko Nii Foundation at the Williamsburg Art and Historical Center in New York City. 📚📕”Thomas Cooper Society Newsletter- Winter 2013″ by University Libraries–University of South Carolina. 📖. https://scholarcommons.sc.edu/tcl_news/17/ 👁️📖 🎓🇺🇲. Dr. Wickenheiser is a retired president of St. Bounaventure University in New York. Earlier he also had served as president for sixteen years of St. Mary’s University, Maryland. During a lecture he describes Lindall “Without a doubt, Terrance Lindall is the foremost illustrator of Paradise Lost in our age, comparable to other great illustrators through the ages, and someone who has achieved a place of high stature for all time.”
He-(Robert J. Wickenheiser) purchased Lindall’s remaining Paradise Lost elephant folio and all three of Banez paintings also exhibited in the same venue.
Bienvenido Bones Banez, Jr., migrated to America in 2002 and became acquainted with Lindall when the latter invited him to display a work in the Brave Destiny, the world’s largest-ever exhibition of Surrealism held also in Brooklyn’s WAH Center in 2003.
Lindall was then emerging, unofficially, as Andre Breton’s replacement as spokesman of the surrealist movement. After Brave Destiny Lindall capped his passion for organizing Surrealism’s largest-ever convergences when he gave John Milton the renaissance poet’s biggest-ever posthumous birthday bash in 2007 (his 400th), dubbed as the Grand Paradise Lost Costume Ball. Both affairs averaged an attendance of close to five hundred surrealists from the world over. Lindall, in interview, speaks of Pandemonium and Banez: “This plate is a tribute to architecture, construction, sculpture, painting, etc. Note that the Seraphim שְׂרָפִים in the upper corners have paintbrushes in one hand and flames in the other. They are painting with fire. God wrote the Ten Commandments with His finger in fire. Bienvenido’s style I call “Fiero Electric” because he recognizes the divine principle of creation is fire and color, and “Fiero Electric” because of Bien’s striking juxtaposition of primary colors! (He) discovered my philosophy of surrealism and my interest in Paradise Lost and recognized an absolute parallel in our thinking…I have especially honored Bienvenido in this plate by writing his name on the artist’s palette at the very top, the palette of flaming colors.”
Lindall’s passion for Paradise Lost began in 1980 when he did its illustrations for Heavy Metal Magazine. Three years later, in 1983, he synopsized the book artistically. Since then he made limited editions by illustrating the book in various sizes and forms: the quarto editions (5 ¾ x 7 5/8 inches), the “Gold-Illuminated Paradise Lost Scroll,” (17 x 50 inches) and “The Paradise Lost Altar Piece” (Oil on Wood), consisting of two 24 x 40 inches wooden panels. In 2011he finished his first elephant folio and the following year, the second one.
Bones-Banez has had four one-person shows in New York and one in Vermont. He had participated in at least ten group exhibitions in the same country and one in the (Society for Art of Imagination} Phantasten Museum Wien of Vienna, Austria. His name and profile appear along with surrealism greats Salvador Dali, William Blake, Ernst Fuchs, H.R. Giger and Hieronymus Bosch in the Lexicon Surreal, literally a dictionary of surrealism, authored by well-known Austrian publicist Gerhard Habarta*.
Bienvenido Bones Banez, Jr. will be a featured artist in the WAH Center’s {Williamsburg Art & Historical Center) summer exhibits. The WAH Center will bring out for exhibit what Terrance Lindall calls “the greatest visionary fantastic painting ever done, Banez’s “My Warlock Dream.” The WAH Center will be open the evening of June 2, 2012 to open the annual White Elephant sale and the gallery will also be pen to show Banez’s work. 👁️. “From: Terrance Lindall “This is a highly important plate, called ‘Pandemonium,’ from my elephant folio, that speaks to Satan’s creative genius and honors the arts. I have especially honored Bienvenido ‘Bones’ Banej Jr. by writing his name on the artists palette at the very top, the palette of flaming colors.
“Banez discovered my philosophy of surrealism and my interest in Paradise Lost and recognized an absolute parallel in our thinking. One of his many remarkable ideas is that “Satan gives color to the world.” Indeed, what a dreary world if everything were nice, sweet, and beautiful. We would soon go bonkers. Man struggles and finds meaning in the struggles. He writes operas and stories about the struggles of love, treachery and war and paints pictures of it. Do we not find Satan’s struggle in Paradise Lost more colorful than anything in Paradise Regained?” 👁️. https://www.liquisearch.com/terrance_lindall/the_paradise_lost_elephant_folio And 👁️. https://www.academia.edu/44738926/Acrostic_Paradise_Lost_by_Terrance_Lindall?source=swp_share
The LEXIKON SURREAL & KUNSTHERZ : Author Prof Gerhard Habarta🇩🇪 Jun 30th, 2023 Surreal Lexikon and KunstHerz By Phillip Somozo : Bienvenido Bones Banez, Jr. in Lexikon Surreal Edition One & Two by Prof. Gerhard Habarta Earlier, in 2004, the president and executive director of Williamsburg Art & Historical Center in Brooklyn, while viewing Ben’s painting, commented to a fashion photographer that Banez is the “greatest living surrealist from the Philippines.” This comment from contemporary Surrealism’s prime mover, Terrance Lindall, himself the organizer of Milton’s biggest birthday bash, may have been trivially said. But today it is substantiated by yet another achievement in Banez’s career: his name, profile, and sample work are recently published in a German edition of “The International Encyclopedia of Fantastic, Surrealist, Symbolist, & Visionary Artists” or Lexikon Surreal for short. Thus, Bienvenido Bones Banez,Jr. again the only Filipino in the inventory, now appears along with Surrealism greats such as Salvador Dali, Max Ernst, HR Giger, Ernst Fuchs, Bosh, Picasso, and Robert Venosa, to name a few, in the same book. Videos👇 👁️ https://www.youtube.com/watch?v=XfOknOpaYqE 📖 https://www.facebook.com/100085608697157/posts/137771812419775/?mibextid=Nif5oz 👁️. https://www.youtube.com/watch?v=35awKVW0NKA ⌚ https://www.facebook.com/100085608697157/videos/526458502574227/?mibextid=Nif5oz
Esthetically mesmerizing the colors are in a Banez canvas, the perverted figures and miserable faces of humankind are as morbid and offensive to good taste. Apparently, the artist schemes to capture the viewer with wonder; then, in succeeding moments, pounces on his cognitive faculties with horrors of the wages of sin. This rare Banez visual irony fits well with Surrealism as originally defined by spokesperson Andre Breton: Beauty must be convulsive. In this context, Banez earned his ticket to the theater of the absurd where Hieronymus Bosch and company once sat and dreamed. It is notable that Banez, despite his psychedelic colors, is not and was never a drug abuser. His recent works indicate he has evolved from common representational surrealism into unique abstract surrealism as his figures and images lose physical and material volume, reduced to their astral constituency–something that only the very rare eye of contemplation could see. It is said only 2% of the world’s total population could see with contemplation’s eye. His abstraction of surrealism is a direction not commonly trodden by surrealists down history. This is the future that Banez should look forward to, to discover new horizons where he as Man is created not to languish in murky infernal depths, but to fulfill his vivid godly inheritance. It does not set him apart from his fellow Filipinos but pulls them up as artists universal as any other race. Lexikon Surreal is authored by Gerhard Habarta. Measuring 9 x 6.75 inches, it is printed hardcover, with ribbon. It contains 1,122 artist biographies from 69 countries in 464 pages, with 950 black-and-white and 458 color reproductions. Video 👇. https://youtu.be/35awKVW0NKA 👁️🗽📚💫. 👁️📚. Forever In Our Memories & Forever In Our Art World of Prof Gerhard Habarta” and notability strongly believes in our three core values, representation matters, diversity matters and equality matters. Thus in doing so we can encourage greatness, foster inclusion, and explore the beauty of the diaspora and that is the reasons why we should thanks again and notable books on Lexikon Surreal Edition One and Two, KunstHerz, and other important art books as a notable museum galleries in the world. If you want to see more information on the art biographies in KunstHerz by Gerhard Habarta: Including Beksinski, Henry Moore, Ernst Fuchs, Salvador Dali, Brigid Marlin, Otto Rapp, and Bienvenido Bones Banez,👁️👌🌎🙏 We should thanks from Prof Gerhard Habarta and this is very informative and interesting subject area: Biographies, Literature, Literary studies-Non Fiction. & Genre: Non-Fiction / Politics, Society, & Economic–👎 👁️🌹. https://books.google.com.ph/books?id=2jZPEAAAQBAJ&pg=PA573&lpg=PA573&dq=bienvenido+bones+banez+jr+KunstHerz+Gerhard+Habarta&source=bl&ots=jQqXN8QN44&sig=ACfU3U3xnGxpofJHmHklaJdInxTQ41DO6w&hl=en&sa=X&ved=2ahUKEwiwkrmzi7j4AhWVSmwGHQPMD9EQ6AF6BAgWEAI#v=onepage&q=bienvenido%20bones%20banez%20jr%20KunstHerz%20Gerhard%20Habarta&f=false 🇺🇲👁️. https://www.quora.com/profile/Bienvenido-Bones-Ba%C3%B1ez-Jr/Our-Memories-of-Prof-Gerhard-Habarta-and-his-notability-books-on-Lexikon-Surreal-Edition-One-and-Two-KunstHerz-and-oth?ch=15&oid=75297642&share=f42b18bc&srid=OsnH&target_type=post 👁️📚💫💥🌈. “KUNSTHERZ by Gerhard Habarta written here’s the translation from German to English👉 “I got to know the work in preparation for the lexicon of fantastic artists. In person at the Society for Art of Imagination exhibition. We had a very strong image of him in the museum. Its themes are one theme: 666, the Bible number of the beast in the apocalypse – the evil one. And the book by John Milton (1608-1674). “Paradise lost”, who was sentenced to death but pardoned. It tells the story of Satan’s temptation. The poem is seen as a parable of the political situation in England in the 17th century. The title of a picture by Bienvenido Bones stands for his entire work: Our world 666 is the compromise from the tree of knowledge to the politics of domination and ruin” Therefore, war, disease, poverty and human domination in the power struggles over creation and destruction , the definition of the rough dialectic “rule and ruin policy”. A man-made philosophy for their survival for the fittest and the great flesh tribulation.
From Master Terrance Lindall and ”My Warlock Dream-666” by Bienvenido Bones Bañez Jr. on Saturday, June 9, 2012 at 1:35pm · From Terrance Lindall
Last night was the opening reception for Bienvenido Bones (Ben). We enjoyed people coming in to hear and see Buck the singing deer and Donna the zombie. Afterward our group of very intellectual artists discussed many topics on philosophy, religion and current affairs. Although the opening was to end at 8 PM. Yuko ordered dinner and we all stayed up having a great time till 11 PM when we made our goodbyes. Carter Kaplan of the Williamsburg Circle was supposed to attend, but he did not appear. Another interesting visitor earlier in the evening was a philosophy professor from CUNY and we reminisced about the PhD program at NYU that we both were in.
“DR. ROBERT J. WICKENHEISER’S COMMENTARY FOR THE ELEPHANT FOLIO” The Robert J. Wickenheiser Collection of the seventeenth-century English poet John Milton (1608-1674) brought to the Thomas Cooper Library of the University of South Carolina its first major seventeenth-century research collection, to join the earlier acquisition of major collections from subsequent periods. It was acquired for Thomas Cooper Library in 2006 with leading support from William L. Richter and The William L. Richter Family Foundation.
The Wickenheiser Collection, built up over a thirty-five year period, has more than 6,000 volumes. It includes more than sixty first and other seventeenth-century editions of Milton’s own writings, and significant holdings also of 17th century Miltoniana. Its special focus on illustrated editions make it perhapsthe most comprehensive collection ever of Milton illustration.
Synopsis and Illustrations in
Folio Edition by
Terrance Lindall of
Paradise Lost by John Milton
Commentary by Robert J. Wickenheiser, Ph. D.
Without a doubt, Terrance Lindall is the foremost illustrator of Paradise Lost in our age, comparable to other great illustrators through the ages, and someone who has achieved a place of high stature for all time.
Throughout almost four centuries of illustrating Milton’s Paradise Lost, no one has devoted his or her life, artistic talents and skills and the keenness of the illustrator’s eye more fully and few as completely as Terrance Lindall has done in bringing to life Milton’s great epic. He has also devoted his brilliant mind to studying Milton, his philosophy, and his theology in order to know as fully as possible the great poet to whom he has devoted his adult life and to whose great epic he has devoted the keenness of his artistic eye in order to bring that great epic alive in new ways in a new age and for newer ages still to come.
From virtually the outset Milton has been appreciated as the poet of poets. It was John Dryden who said it first and best about Milton shortly after Milton died in 1674:
Three Poets in three distant Ages born ––
Greece, Italy and England did adorn.
The First in loftiness of thought Surpass’d;
The Next in Majesty: in both the Last.
The force of Nature could no further goe;
To make a Third she joyn’d the Former two.
Milton’s use of unrhymed iambic pentameter verse in a manner never used before raises the lofty goals of his epic to a level never before achieved in the English language. Moreover, the poet who said at age 10 that he intended to write an epic which will do for England what Homer had done for Greece and Virgil for Rome, accomplished masterfully the goal he set himself and more than has ever been achieved before or since.
This is by no means to say that there are no great poets who have achieved high goals after Milton, and in doing so have joined Milton and even rivaled him. But Milton is the giant who stands at the door to English poetry urging all who would enter to master their art, to write with the highest respect for language and a passionate recognition of what language is capable of achieving.
In Milton’s Paradise Lost we see, too, that in great poetry there is always great passion, clarity of voice in support of the purpose at hand, and at its best, with the prophetic and the visionary joined to compel the reader to rise to new heights in what is read and seen through the poet-prophet.
Milton’s Paradise Lost challenges everyone to achieve goals beyond any they might have dreamed possible before, and to take from his own great epic, goals which help define all that is worthy of sustaining while providing English poetry with what it did not yet have. To declare at age 10 that he would become the greatest English poet is one thing, and a quite spectacular thing at that, but to go on then and fulfill this goal shows not only the great vision Milton had as a poet, but also his tremendous confidence in becoming that great poet.
Milton sings with the voice of the visionary poet and so he becomes the poet for those who see in him clarity of voice and of vision; poets like William Blake who, in the early 19th century thought he was Milton (stretching the point a bit as Blake was wont to do) and who therefore relied very much on Milton and even wrote a poem entitled “Milton” designed and hand-colored as with other of Blake’s great works. While Blake openly admired Milton, William Wordsworth, a few decades later, was calling out for Milton in an age that had need of him, proclaiming: “Milton! Thou should’st be living at this hour.”
As the visionary poet Milton was, he had acute interest in such monumental issues as the relationship between God and man, free will and its vital importance to all of mankind along with the responsibility that goes with it, the relationship between man and woman, divorce and the need for acceptance of it, definition of “monarchy” along with important issues related thereto, and a great deal more. Milton defined many issues at a time when England was engaged in a Civil War precisely because of those very significant issues, issues which Milton helped not only to define but also to defend.
His life spared after the Civil War and his reputation as a poet and writer of important treaties reasserted, Milton retired to the country, to Chalfont St. Chiles, where he dedicated himself to completing Paradise Lost, and ultimately, Paradise Regain’d and Samson Agonistes. What a profound loss it would have been had Milton not been allowed to write his greatest poetical works!
Yet how did the poet write his monumental works, especially given the loss of his eyesight while writing significant treatises both before and during the Civil War? Here we have the blind poet dictating to an amanuensis (his daughters, as many preferred to believe for a long time, but in reality his nephew), whole passages defining important relationships and memorable scenes which are themselves of epic proportion: the creation of man in Adam and of woman in Eve; Eve seeing herself in the pond for the first time and likewise our seeing Eve at the same time she sees herself; Adam seeing Eve for the first time; the moving depiction of the “bower of bliss” and then of the creation; the war in heaven; the depiction of Satan and hell, with Satan rallying his troops in passages that take poetry to new heights; the temptation of Eve and then Adam, in equally powerful scenes, and the departure of Adam and Eve from Eden.
Surely Milton deserves not only our gratitude for the prose treatises he wrote, but also for the poetry, much of it written under the most dire of circumstances (some thought he might be put to death for his part in the Civil War and his service to Cromwell, and also more specifically because of his treatise in defense of “beheading a King”).
Here is a poet to be reckoned with: for standing up in defense of eternal values, something Milton not only did himself, but something he expected his readers to do as well; and then to appreciate his poems, his epic verse and organ voice, his epic vision, and his bringing to life, despite (or perhaps because of) his blindness, something so unique that Dryden and others long after him have recognized in Milton the genius that “Surpass’d” Homer and Virgil before him.
As Milton left his supreme poetic gifts for mankind to appreciate in reading his great works during the centuries following him, so, too, he used his blindness to bring to life visions befitting the dynamic scope and epic dimensions of his great epic; visions undertaken in the first, and still one of the greatest illustrated editions of Paradise Lost published not long after Milton died, in a folio format in 1688. Medina’s illustrations, primarily, are those which appear in the 1688 folio edition of Paradise Lost, but aside from the significance of what his stature brought to this publishing venture, the 1688 folio remains a highly sought after book today because it is England’s first grand publication and therefore holds its own place for the first time with books printed on the Continent where books had long been praised for their publishing distinction and artistic design and success.
Through the centuries John Milton’s Paradise Lost has continued to inspire artists, which tells us much about Milton and about his great epic, a poem which readily lends itself to the eye of the artist, and in this, affords all of us a visual perspective, a visual capturing of the poet’s vision, which words alone can seldom achieve. Commentary and criticism certainly have their place, but seldom does the written word adequately capture the poet’s vision or replace the illustration or illustrations of the artist’s view of a poem and his capturing that view on a canvas. The aspirations of each, however, critic and artist/illustrator, need not be pitted against one another; indeed should not. Rather, they should be welcomed for the manner in which each complements a view or views of a poem thereby bringing together two significant disciplines: that of the writer/poet together with that of the artist/illustrator.
Poets who aspire to lofty goals lend themselves most readily to being illustrated, providing us with the opportunity of looking at how a poem or group of poems is seen by the eye of an artist. Instead of learning about the themes and poetry of a given age or period as seen only through the eyes of writers and critics, we are privileged to have the views of the artist to help us see and appreciate the poetic vision of the poet, sometimes in great variation from one period to the next or as viewed by one generation to the next.
Obviously, given the monumental issues in Paradise Lost as well as Milton’s portrayal of them, it should be no surprise to say that Paradise Lost may well be the most illustrated of poems and epics. I intend no controversy by saying this, but wish simply to call attention to how epic scenes have been brought to life for viewers by master artists capable of depicting grand visions within grand poems; by artists capable of capturing with visionary view what words alone can never do. The painter/illustrator, in capturing moments which might otherwise have been given less recognition than they deserve, provides a vital service in bringing to life scenes or moments, images or views depicted in poetic form by the poet, thereby enabling the viewer to appreciate all the more what the poet has achieved and how he has achieved it.
Lindall has himself said about Milton’s epic: “With Paradise Lost, the written word in its greatest form, Milton was able to evoke. . .immense space and project spectacular landscapes of both heaven and hell, and create also the monumentally tragic character of Satan, courageous yet debased, blinded by jealousy and ambition, heroic nonetheless. The blind poet brings powerful visionary life to one of the world’s greatest stories, id est, the Western legend of man’s creation and fall, a story encompassing philosophical concepts of free will, good and evil, justice and mercy, all presented with the greatest artistry to which the written word can aspire.”
Lindall also believes “that insight into Milton and the aesthetic and intellectual pleasures of Paradise Lost can elevate every individual’s experience in education, thought, and human endeavor. . .through the inspiration of the written word.”
It is this cherished belief, which has compelled Lindall to want to bring Paradise Lost alive to others, to urge all to see in Milton, as he does, the power of the word and image, and to want to illustrate Milton’s epic for others to see in relation to the eternal truths and values captured by Milton and conveyed in his great epic poem.
Lindall has synopsized the story of Paradise Lost with genuine care in order to bring Milton’s great epic alive to young and old. His synopsis is poetic in its own beauty, with each word carefully chosen to be true to Milton while maintaining integrity with his great epic and the rendering of it into a readily understandable format. Lindall’s synopsis maintains the spirit of Milton’s epic while revealing the genius of the poet in telling “Of Man’s first disobedience and the fruit / Of that forbidden tree, whose mortal taste / Brought death into the world and all our woe, / With loss of Eden, till one grater Man / Restore us and regain the blissful seat, / Sing heav/nly Muse. . .”
Terrance Lindall has spent decades perfecting his painting skill and illustrating technique in order to capture all that is best and visionary about Milton, providing illustrations of Milton’s great epic, early on, e.g., along with his synopsis in a fold-out brochure in order to bring Milton’s epic alive to students in schools. Lindall’s first edition of his synopsized version of Paradise Lost along with his illustrations (1983) were designed to encourage young readers to look into the brilliance and eloquence of Milton’s visionary poetic landscape and his great organ voice.
More recently he has gone beyond illustrating Paradise Lost by capturing the essence of Milton’s epic and its meaning down through the centuries and beyond in a “Gold Illuminated Paradise Lost Scroll” (size with border 17” x 50”), with nine panels to be read from right to left, as with Hebrew; the Scroll is Lindall’s “tribute to his love [of] and sincere gratitude for Milton’s great contribution to humanity.” He finished the “Gold Illuminated Paradise Lost Scroll” in 2010.
He has also brought Milton’s epic alive in a very large “Altar Piece,” called “The Paradise Lost Altar Piece” (oil on wood), consisting of two large panels, each 24” x 40”. When opened, the panels might be seen as pages from an illuminated manuscript of the Renaissance. One panel shows the gates to the “Garden of Eden.” The second panel shows the “Gates to Hell.” In both panels, pages from the epic poem Paradise Lost lie revealed in the foreground at the center of the illustration. “The Paradise Lost Altar Piece” was completed in 2009.
Lindall’s passion for Milton and his desire to bring the poet and his great epic alive to modern readers reveal themselves over nearly four decades. During this same period, from the late 1970s to 2012, Lindall’s “love of Paradise Lost” and his “sincere gratitude for Milton’s great contribution to humanity” grew enormously.
To get a sense of this as well as of Lindall’s broader artistic background and its influence on his illustrations of Paradise Lost, there is his large cover illustration of the comic book Creepy (now considered a classic – both the comic book and Lindall’s “creepy” cover illustration of “Visions Of Hell (6/79).” Likewise his cover to Creepy (#116, May 1980), entitled “The End of Man” (again, the comic book and Lindall’s cover illustration now considered classic).
About this same time some of Lindall’s earliest illustrations for Paradise Lost in the late 1970s appeared in comic book form, Heavy Metal Magazine (1980). Appearance in Heavy Metal enabled Lindall’s illustrations to reach a very large audience. That issue in 1980 of Heavy Metal Magazine became an acquisition proudly reported by the Bodleian Library in 2010 (with one of Lindall’s paintings, Visianry Foal, appearing at the top of the acquisitions page), alongside such other acquisition listings at the same time as Philip Neve’s A Narrative of the Disinterment of Milton’s Coffin. . .Wednesday, 4th of August, 1790 (1790) and Philip Pullman’s His Dark Materials trilogy (1995-2000), a rewriting of PL by “a modern master,” among others. The oil painting by Lindall from the Nii Foundation collection was used by the Oxford University major exhibit “Citizen Milton” at the Bodleian Library in its celebration of the 400th anniversary of Milton’s birth in 2008, thereby recognizing Lindall’s contribution to the continuing Miltonian artistic legacy.
Joseph Wittreich, esteemed Milton scholar and friend of both Lindall and me, has kindly given a copy of the 1980 issue of Heavy Metal Magazine to the Huntington Library. My own collection has several copies along with the other acquisitions listed above by the Bodleian Library in 2010.
Shortly after the appearance of a portion of Terrance Lindall’s illustrations of Paradise Lost in Heavy Metal Magazine (1980), there appeared in 1983 his synopsis of Paradise Lost along with his illustrations of Milton’s epic, privately published together in a small book (5 ½” x 8 ¼”) in a limited number of copies, entitled: John Milton’s Paradise Lost synopsized and with illustrations by Terrance Lindall. The color print illustrations, inspiration now taking real form and mature character, were tipped in across from the printed synopsis of the illustrated lines of Milton being illustrated.
The whole was a wonderful success and Lindall’s reputation as an artist and as someone committed to illustrating Milton’s great epic were growing in stature, while his illustrations were gaining recognition for the artistic achievement they represented. The surrealist provocateur was moving in a direction that suited his own goals as an artist and a scholar, an illustrator of Paradise Lost and someone even more strongly committed to continuing his illustrating of the poet’s great epic. The World Wide Web has long since given access to Lindall’s paintings by millions, making Lindall’s illustrations among the best known of Paradise Lost.
Lindall’s attention to Milton’s epic and to details in the epic, ever from the eye of the dedicated and committed artist/illustrator, grew beyond his early attention to detail. From a small-size private publication with tipped-in cards measuring 3 ½” x 4 ¼” or sometimes 4 ½”, Lindall moved to a quarto-sized publication in 2009, again done in a very limited number of copies (this time 20) and with each illustration measuring 5 ¾” x 7 5/8” and signed and dated by the artist.
The quarto edition has been followed by his massive and richly triumphant elephant folio illustrating Paradise Lost (No. 1 completed in 2011 and No. 2 in 2012), the remarkable edition we celebrate here. All concepts that were growing in meaning and stature during the nearly forty years before now were drawing themselves into place for this ultimate expression of Lindall’s interpretation of Paradise Lost in this one final work, his Elephant Folio. Like his other works before him, this large edition is also being done in a very limited number of copies (10), all by hand, a vast expansion in size and scope over his quarto edition, with 64 pages, each page measuring 13” x 19”, illustrations mostly measuring 9” x 12”, title page measuring 11” x 11”. The binding of each folio is intended to be leather bound by the renowned binder Herb Weitz, hand tooled & gilt-decorated, unique, and each personally dedicated to the owner. The covers will be identified by different motifs, such as the “The Archangel Michael Folio” or “The Lucifer Folio,” etc. Each copy will have one original conceptual drawing at the front.
I use “being done” in describing both instances, the quarto and the folio editions, because both editions have been (and will continue to be) “done” by hand, with loving care, and with each illustration printed on the highest quality paper stock available anywhere and signed and dated by the artist. Both the quarto and the folio editions have been, and will be, done as “originals, as signed prints,” and in the case of the Elephant Folio, as prints with original paintings surrounding them.
In itself, the quarto edition is superb, truly one of a kind, and distinctive now and for years to come. “The Paradise Lost Elephant Folio,” however, is amazing and goes far beyond the quarto edition in untold ways; it is the culmination of Terrance Lindall’s life’s devotion to Milton, to Paradise Lost, and to all that Milton represents and his great epic means. Because of Lindall’s supreme dedication and artistic achievements, Milton will live in yet another new age, brought to life in refreshingly new ways, made “relevant” in remarkably profound ways. Because of Terrance Lindall, great new numbers of readers will be attracted to Milton and his profound epic than would otherwise, most assuredly, have been the case.
“The Paradise Lost Elephant Folio,” in particular, is a hand-embellished and gold illuminated 13 x 19 inch book containing 14 full-page color 1000 dpi prints with 23.75 carat gold leaf edging on Crane archival paper. Each illustration is signed by Terrance Lindall, some pages with hand-painted illustrated or decorated borders and large, carefully embellished head- or tail-piece illustrations, others with historiated initials with 23.75 carat gold leaf embellishments. All add to the depth and meaning of a given illustration of Lindall’s synopsized Paradise Lost(1983) appearing across from an illustration. For the Elephant Folio, Terrance Lindall is also providing a final painting, The Celestial Orbit, as a frontispiece. It is Lindall’s “ultimate statement” as an artist’s interpretation of Milton’s great epic. This painting will only be produced as a print for the Elephant Folio and will not be reproduced for collectors as a signed print in any other format.
And while Lindall may now think that he has finished his work with Milton, he hasn’t, because Milton lives within Lindall in a special way, as surely as Lindall remains dedicated to bringing Milton alive to new generations in fresh and vibrant new ways, doing the same for countless generations in centuries to come.
In his folio edition and the illustrations in it, Terrance Lindall shows the influence by certain great master illustrators of Paradise Lost through the centuries before him, especially with the inclusion of richly illustrated margins for each color illustration, the margins colored in 23.75 carat gilt and consisting of brightly colored details drawn from the epic in order to advance the meaning of the given illustration. Moreover, again in the tradition of certain great master illustrators of Milton‘s Paradise Lost through the centuries, historiated initials, in imitation of the initial letter in an illuminated manuscript, each in rich gilt and bright colors, are used as the first initial of a section and decorated with designs representing scenes from the text, in order to heighten the intensity of the cumulatively related details in each component part: illustration, border, and historiated initial.
The illustrated borders in the elephant folio are complete paintings in themselves. Although the border art focuses principally on elements of design, they also sometimes tell stories or make commentary about what is illustrated in the featured central painting. The borders likewise pay tribute to both humanity’s great achievements, such as music, dance and architecture, as well as tribute to those individuals and institutions and friends who have had important influences on Lindall’s ideas, or who have shown substantial support or affinity. For example, the Filipino surrealist artist Bienvenido “Bones” Banez, Jr., discovered Lindall’s repertoire during the world renowned “Brave Destiny” exhibit in 2003, an exhibit to which Bienvenido had been invited to display one of his works. Thereafter, a friendship and mutual admiration between the two great artists grew, to the benefit of each.
Bienvenido communicated to Lindall the idea of how “Satan brings color to the world.” Lindall thought the idea to be an insightful and original “affinity,” and so in the elephant folio plate, “Pandemonium,” which is a tribute to art, architecture, construction, sculpture, painting, and the like, he especially honors the Filipino surrealist artist by placing Bienvenido’s name on the artist’s palette at the very top of the border, the palette in flaming colors.
Like the great illustrators of Milton‘s Paradise Lost before him, Lindall uses many and various techniques and styles to bring Milton’s great epic alive. As with Medina, e.g., in the first illustrated edition of Paradise Lost in 1688, Lindall has mastered how to use the synopsized scenic effect to focus our attention on an important moment in the epic while capturing all around it other significant moments or scenes in the epic related to that important central one.
As with the illustrators James Thornhill and Louis Chéron in the 1720 edition by Jacob Tonson and edited by Thomas Tickell, Terrance Lindall draws upon the use by Thornihill and Chéron of the historiated or illustrated initial along with their use of head- and tail-piece illustrations or vignettes – this latter translated to the marginal illustrations or vignettes in Lindall, all to underscore the main theme of the central illustration of a given Book. As the manner of illustration has changed dramatically in the 18th century from that of the 1688 illustrated edition, so too has the manner of the great contemporary artist changed in his illustrations of Paradise Lost from those in the several centuries before him.
On through other 18th-century greats, Francis Hayman, whose illustrations seem almost marvelous embellishments for the first variorum edition of Paradise Lost in 1749, which focuses attention primarily on the copious notes of that great edition, although Hayman’s illustrations became the most repeated illustrations in reduced form in editions of Paradise Lost for the next 40 or more decades, through to Francis Burney at the end of the century, in whose illustrations can be seen most powerfully the influence of the classics upon artistic interpretation of significant moments, scenes or figures, as with Satan appearing as an Achilles figure in Book I as he rallies his troops.
At the end of the 18th century, too, artists like Henry Richter began to shed the trappings of the 18th century in his 1794 illustrations of Milton’s great epic, and his illustrations give a look that bodes seriously of things to come.
With John Martin, Terrance Lindall has much in common: Martin presents his illustrations of Paradise Lost in various sizes, from his rare folio parts, to his even rarer elephant folio, to his large quarto and also his octavo editions, both in two versions, with “proof plates” and without, including sale of individual illustration plates along the way, between 1825 (when the parts began to be distributed) on through to the quarto and octavo editions, published in 1826. But not only did Martin and Lindall share a sense of entrepreneurship in passing along their perceptions of key moments and scenes in Paradise Lost, but they shared a sense of searching for a new style in bringing Milton to life anew: Martin via the mezzotint, and Lindall as surrealist provocateur; Martin with a brilliant effect of black and white in each of his illustrations, Lindall with the use of brilliant colors which bring vibrancy and life to his illustrations. Each in his own way moved Milton and the understanding of Milton light years ahead from where they were in their time.
So, too, William Blake, whose perception of poignant and meaningful moments in Paradise Lost is not only uncanny, but unique, and not because he felt a kinship with Milton that no one else has ever emphasized having (he believed that he was Milton and even wrote a poem entitled Milton, designed and hand-colored as with other of Blake’s great works), but because he brought to life, as did Martin his near-contemporary, Milton’s epic in a new way for many generations to follow. Certain artists, like Blake, worked painstakingly to make each illustration an original or as close to what the artist intended as possible; Lindall has been like that as well.
Gustave Doré, later in the century, followed in the footsteps of Martin and brought Milton’s epic alive for every generation after him, as did Blake; the two being among the most popular and most known of 19th century artists and illustrators of Paradise Lost. Doré and Blake so dominated the scene that most illustrated editions of Paradise Lost or of Milton’s poems make use of their illustrations in one way or another. Only later, when moving into the 20th century, did Martin become something of the same icon, with his illustrations of Paradise Lost used more regularly and more and more often with editions of Paradise Lost or of Milton’s poems.
Along that great continuum of highly regarded and well-known artists who have illustrated Paradise Lost, belongs the remarkable Terrance Lindall, taking second place to no one in his love and knowledge of, or devotion to Milton, or in his capacity to bring alive in remarkably vibrant new ways and in a new age, the poet for all ages, whose epic stands next to and even above that of Homer and Vergil.
His illustrations incorporate “the artist’s [Lindall’s] concepts. . .the best since Blake and Doré” (Nancy Charlton), with, in my view, John Martin hovering strongly in the background, especially in certain of Lindall’s illustrations where space and dimension allow the conjuring up of landscapes, colors, sensations, and artistic visions without confining them. If nothing else, although there is more, so very much more, Martin and Doré, along with Lindall now, show us that the use of space helps to accomplish all of the above and more, seen in the brilliant colors and breadth of vision in Lindall and in Blake before him.
“Eerie, magical, dreamlike, devastating, jarring. . .Lindall’s illustrative style is magnificent!,” declared Julie Simmons, Heavy Metal Editor in Chief, 1980.
“Lindall’s striking and unique visionary fantasy art is breaking new ground in the field, ” exclaimed David Hartwell, Pocket Books Senior Editor, 1980.
“Lindall’s use of color & detail to achieve effect, his dramatic compositions, but most of all his totally unique vision make him a new wave artist to be reckoned with,” according to Louise Jones (now Louise Simonson), Warren Communications Senior Editor, 1980.
Such early rave reviews continue today, as Lindall continues to assert his stature as illustrator and singular visionary illustrator of Milton’s Paradise Lost.
“My reward for the purchase of a Lindall masterwork has been a cover that draws raves. It is a very valuable addition to my collection of fine art,” claims Stuart David Schiff, winner of the Hugo Award, twice winner of the World Fantasy Award, editor of the acclaimed Whispersanthologies.
Lindall’s art is also in the collections of both Stephen Schwartz, the famous lyricist for Broadway and films and winner of three Academy Awards, and Michael Karp, whose music is perhaps the most performed on television.
Mark Daniel Cohen, critic for Review Magazine and NY Arts Magazine, states that “Clearly avoiding the view that Pop imagery is inherently a sign of trauma, Terry Lindall employs the cartoon elements of style with a charming and often unnerving directness and simplicity, frequently aimed at causing a trauma all his own. This is particularly the case with his illustrations of Milton’s Paradise Lost, with which he reaches a hyper-intensified and nearly hysterical verve.”
“I love these! There is a wonderful Bosch-meets-Blake quality combined with something wholly modern. . .,” Professor Michael E. Bryson, Associate Professor of English, California State University, Northridge, proclaimed recently in open admiration of Lindall’s illustrations.
In using one of Lindall’s paintings from the Nii Foundation collection for the major exhibit “Citizen Milton” at the Bodleian Library, honoring Milton’s 400th birthday in 2008, Oxford University recognized Lindall’s contribution to the continuing Miltonian artistic legacy. And indeed Lindall’s contribution is great and virtually immeasurable!
Those contributions and Lindall’s monumental illustration have inspired Peter Dizozza to prepare “Incidental music to Milton’s Paradise Lost” in 2008, “Composed for Terrance Lindall,” honoring Milton, first and foremost, but thereby honoring Lindall as well.
A short time later, famed Lutheran hymn writer Amanda Husberg composed a requiem mass for Terrance Lindall in recognition of his contributions to the understanding of and earthly resurrection of John Milton’s “glorious” Paradise Lost. Noted Lutheran hymn text writer and poet Richard Leach wrote a new text for the requiem mass. The Requiem in honor of Lindall was published by Concordia Publishing House in 2010, receiving high praise from David Johnson, Head of the Publishing House, as being “totally enthralling, engaging the heart, the mind, and the spirit with absolute beauty, balance and integrity. About his Requiem, Lindall commented, “It will be the final act of my Paradise Lostproject and acknowledgement of my own resurrection. The ‘two handed engine of truth and justice’ will prevail in resurrecting the spirit of John Milton!”
Lindall’s illustrations have been called “surrealistic” in the manner of André Masson, Salvador Dali, and Max Ernst, but he takes his art to another level as “surrealist provocateur. “ He is highly regarded for the powerful effect his illustrations have and will continue to have by the juxtaposition of images within the context of a given illustration, for the lasting achievement of an artist who combines surrealism with his interpretation of how that best applies to Milton, allowing him to bring together richly woven tapestries of illustrations which capture poignant moments in Milton’s powerful epic.
Lindall’s art speaks to us freely, openly, and sometimes loudly; it does so in magnificence of design and depth of vision; it sometimes uses brilliant, other times subtle, colors to heighten key elements in important scenes.
Such is the case in “The Infernal Serpent,” chosen as the central illustration in the recent publication of the important Modern Library Edition of The Complete Poetry And Essential Prose of John Milton (2007). “Lindall’s image appears on the covers of Random House’s 2008 Essential Milton (2007)” as well.
For William Kerrigan, renowned Milton scholar and one of the editors of the these editions, “the new cover is WONDERFUL. . . .The black/white division captures the dividing of light from dark at the beginning of Creation, which underlies the entire universe (just as it underlies the entire cover) as Milton understood it and, through his blindness, experienced it. Lindall’s image is, of course, the star. It seems to me at once unmistakably modern and yet just as unmistakably archaic: exactly the doubleness I was hoping for on our cover.”
Holt Rinehart & Winston used another of Lindall’s illustrations of Paradise Lost in a 2009 high school textbook, which was purported to have a first run of 370,000.
Professor Karen Karbiener of New York University, one of the first to use Lindall’s art as an educational tool to interest students in Paradise Lost, says, “Radical artist and nonconformist Terrance Lindall has channeled Milton’s spirit into a modern context, in a provocative series of illustrations to Paradise Lost. His visual celebration of Milton reveals his remarkable affinity for the radical English poet, and his ability to create a fitting tribute to Milton’s enduring influence in the arts” (June 2007).
Terrance Lindall’s artistic accomplishments as illustrator of Paradise Lost, along with his burning desire as foremost Milton aficionado of our or perhaps any day, is second to none in his great enthusiasm for the poet and his lifelong goal of bringing Milton alive in vibrant and new ways to generations for many of whom the classics and the liberal arts and Milton himself have been passed over as no longer “relevant,” useful, or important.
Lindall has had the dual task of bringing to life key scenes and moments in the greatest English epic and one of the greatest epics ever written to whole generations who not only have never read Paradise Lost, but haven’t cared about it or about epics, unless that means “epic” as in “epic dimension” and “epic colossal” on the big screen: Thor & Iron Man, for example. Unlike illustrators before him, Lindall has had to work against tremendously difficult odds, but that has only meant that he has worked harder to win over his audience, to bring his illustrations of Paradise Lost to generations used to the visual and the dramatic and the “epic” in the broadest sense of each of these terms.
Lindall’s illustrations are all of this and more, and those excited by movies like Thor, Iron Man, and Real Steel will feel a kinship with Lindall because of the excitement, remarkable movement, inspired use of color, and sometimes haunting grandeur he brings to his illustrations and they in turn to Milton’s epic.
Lindall opens up whole scenes for us to see in fresh and exciting new ways; his illustrations compel us to read Milton’s epic, or at least key scenes and moments in the epic, in bold new ways. They bring to life, as only an artist-illustrator can, and indeed as only this surrealist provocateur can, the quality of poetry, visual effect, poetic vibrancy, and so much more, that are captured on each page, in each Book, and in each line of Paradise Lost.
What does it matter that the epic begins in medias res (“in the middle of things”) – not unlike many movies and programs today that begin with a captivating scene and then exert: “six hours earlier” or “three weeks before,” and the like.
Now, in the grandeur and size of Lindall’s elephant folio, as with the 1688 first illustrated folio, the elephant folio of John Martin, and the folio editions of William Blake and Gustav Doré, all choosing this size before him, Lindall has taken his illustrations, as did they, to new heights of splendor and achievement. Their size demands attention anew to the elements, figures, and depth of the image or scene illustrated, because with increased size comes grandeur of color and focus of the artist’s eye. Largeness of size also clearly demonstrates how genuinely fresh, remarkable, and stunning his illustrations are, brilliant and often very bold in their interpretations. Likewise, the occasional head- and tail-piece illustrations and the margins which have been added for the first time here, along with the historiated initials which capture the central theme or image of the illustration and are intended to embellish the page while complementing the illustration.
As a collector of John Milton for 40 years, my focus has been on illustrated editions particularly illustrated editions of Paradise Lost and original illustrations whenever and wherever I might find them, there is no doubt in my mind that our age is fortunate, very fortunate indeed, to have one of the all-time great illustrators of John Milton’s Paradise Lost.
In Terrance Lindall we are also most fortunate to have someone who has dedicated his life to celebrating Milton’s Paradise Lost and all that this great poet represents, believed, and stood for, through illustrations and synopsis intended to help students discover Milton’s great epic, through the vehicle of Heavy Metal magazine designed to bring Milton’s epic to a much larger audience on their terms, to various forms and formats of illustrating Milton’s Paradise Lost for generations now and in the future, in events so noteworthy in size and scope that they bring Milton to life in full celebration of the great poet that he was, such as the 2008 “Grand Paradise Lost Costume Ball and Exhibition,” organized by Lindall to celebrate John Milton’s 400th birthday and acclaimed around the world for its enormous achievement and success, culminating in his elephant folio edition of Paradise Lost with illustrations in size and artistic design and use of illustrated borders and historiated initials that ensure that this magnificent edition will “stand the test of time,” as Samuel Johnson said is true of any great work. And great work indeed is Terrance Lindall’s Paradise Lost Elephant Folio.
When Terrance Lindall completed the first Paradise Lost Elephant Folio and presented it to Yuko Nii for the Nii Foundation, he said to me in words that were perhaps intended to be private, but which demand sharing with the world: “I have to say that I think it is the greatest illustrated book ever done [for many reasons, but especially] for all the imagination, thought, and work I have put into Paradise Lost all my life that is summed up in this folio. This is my supreme work. There is nothing else I need to achieve. Everything was moving toward this object all my life, but I did not know it. The folio is everything I had hoped and imagined it could be.”
A short while later in a hand-written note to me, he reiterated sentiments I share, that “I know now that the Elephant Folio will be one of the greatest printed and embellished books ever produced!”
Lindall’s elephant folio with the grandeur of size given each illustration, accompanied by clarity of text through his own synopsis of Paradise Lost, affords Milton’s great epic the quality of scope and epic design it deserves and brings Paradise Lost to life in exciting new ways that are as new to Milton’s epic as Milton’s epic itself must have been to his own generation and others that followed. With the publication of his illustrated Paradise Lost Elephant Folio, Lindall claims a stature as illustrator par excellence of Milton’s Paradise Lost for our age and for all ages to come. His illustrations stand second to none and rank among the best-known paintings for Milton’s epic, and as the epic will live on because of its intrinsic and unique celebration of the state of man, so will the illustrations of it by Lindall, enabling everyone in every age to recognize and appreciate what makes Milton’s epic so timeless and for all ages. Milton’s epic together with Lindall’s illustrations, have become intertwined for every age and for all ages to come.
From being a Benedictine monk in ND in the mid-1960s, the state in which he grew up, Robert J. Wickenheiser went on to earn his MA and PhD from the University of Minnesota in 1969 &1970. He then moved on to teaching Milton on the faculty in the English Department of Princeton University. At the age of 34 he became the 21st
president of Mount St. Mary’s University (MD), where he served for 16 years from 1977 to early 1993 and is recognized as President Emeritus; very shortly later he became the 19th president of St. Bonaventure University (NY) and first lay president, where he served from 1994 to 2003, rounding out 25 years of service as a university president. During all this time he maintained his passion for collecting the poets John Milton and George Herbert, from the 17th to the 21st centuries.
Wickenheiser has written for a number of scholarly journals and spoken widely to various audiences, scholarly and other; he edited a two-issue edition of The Princeton University Library Chronicle in 1977 devoted to the 50th anniversary of highly regarded collector, Robert H. Taylor, and his renowned collection of English Literature in the Robert H. Taylor Collection at Princeton University, providing a key introduction and overview of the collector and his collection.
After his retirement in 2003, Wickenheiser devoted himself to writing and his recent publication in 2008 of his book on his Milton collection, The Robert J. Wickenheiser Collection of John Milton at the University of South Carolina By Robert J. Wickenheiser (Columbia: University of South Carolina Press, 2008), a collection of over 6,000 editions and related books and items from the 17th to the 21st century, now bearing his name and permanently housed at the Thomas Cooper Library of the University of South Carolina, is much heralded and praised for its content and book design. The collection is considered one of the great Milton collections in the world.
He is presently completing his book on his extensive collection of the 17th-century poet, George Herbert, ranging, as with Milton, from the 17thto the 21st century.
The following are comments on Wickenheiser’s Milton book and Milton collection.
Wickenheiser’s Milton book is much heralded as a “grand collecting and cataloguing achievement,” with “devotion to purpose. . .[and] attention to bibliographical detail. Future Miltonists will be forever obliged to [him] for all phases of [his] extremely rewarding work” (Arthur Freeman, former Harvard faculty member, now residing and writing in London after being with Quaritch Antiquarian Booksellers for many years).
Others have said about the book:
“What a wonderful book, both in content and in book production! There are a great many items here –– particularly some of the illustrative materials –– that I have never seen before. The reproductions of art work and other materials are outstandingly fine. Anyone who looks at the catalogue has to be pleased and astounded at the presentations and important information that every page offers. It is a great contribution to Milton studies, to bibliography, and to art history –– the Fuselis and Martins are especially magnificent” (John Shawcross, renowned Miltonist, immediately upon the publication of the book).
Shawcross had earlier said of the collection itself: Wickenheiser’s collection is one of the major collections of materials related to John Milton, editions and studies and artworks, in the world, indicating the breath and nature of Milton’s position in the literary, political, religious, and sociological world over the nearly three and a half centuries since his death.”
Noted Miltonist Al Labriola wrote of the collection and book: “A sumptuous catalogue of the Wickenheiser Collection at the Thomas Cooper Library of the University of South Carolina, superb down to the last detail with illustrations which are breathtaking. The book is a milestone in Milton studies, and the Wickenheiser Collection is a treasure trove for archival research.”
The TREE of KNOWLEDGE and I gave you everything good and bad, for your being gods and goddesses despite you are human mortal creatures!, but welcome to consequences for the world Paradise Lost Generations. Genesis 3:15. And didn’t you notice that the First Chosen People is Hebrew Prophets of Israelites, but in Ancient history and every rules from Egyptian Empire the Jews was a slaves, Babylonian Empire there’s a Jewish people who slaves to Babylonian Empire, Medo-Persia our beloved Hebrew or Jewish Prophet was slaves too, in Greek Empire the Jewish begun to compromise with Greek philosophers and that is the beginning of Jewish Apostasy, and until the Roman Empire and Jewish pharisee starting to judging to Jesus Christ to be impaled and put to death, and that is the prophetic word from Christ foretold “First and Last” The first chosen is Jew but the Last Chosen for Gentiles because only Gentiles believe that Jesus Christ is a Messiah. Therefore, The modern Jewish today they are still continue rule this world power because they believe they are the “Messiah” is working now in Technocratic Democracy in our modern world WEF with United Nations in One World Order as a Agenda 21. 👁️💥👁️🌍👁️ Then it came to be the time for him to answer with action the question raised by the inspired writer King David, in Psalm 2:1-6:
“Why have the nations been in tumult and the national groups themselves kept muttering an empty thing? The kings of earth take their stand and high officials-(World Economic Forum with United Nations) themselves have massed together as one against Jehovah and against his anointed one [his Messiah], saying: ‘Let us tear their bands apart and cast their cords away from us!’ The very One sitting in the heavens will laugh; Jehovah himself will hold them in derision. At that time he will speak to them in his anger and in his hot displeasure he will disturb them, saying: ‘I, even I, have installed my king upon Zion, my holy mountain.’”—See also Acts 4:24-26. https://wol.jw.org/en/wol/d/r1/lp-e/1983566
WELCOME BONES 666 ART WORLD TECHNOCRATIC ADVOCACY for SURREALMAGEDDON Art World!
OUR WORLD LEADERS??? ANGELIC GUARDIANS OR DEMONIC RULERS???
What do you think this world government?… and world religions? Does this mean that God-(YHWH) also appointed angels over this World Government-( World Economic Forum with United Nations) and Christendom to guide them in their affairs? Let watch, Jesus Christ, the son of God, openly stated: ”THE RULER OF THE WORLD…. HAS NO HOLD ON ME.” Jesus also said: ”MY KINGDOM IS NO PART OF THIS WORLD… MY KINGDOM IS NOT FROM THIS SOURCE.” (John 14:30; 18:36) The Apostle John declared that ”THE WHOLE WORLD IS LYING IN THE POWER OF THE WICKED ONE.” (1John 5:19) It is clear that the our Nations of the world were and are ”NOT” now under the guidance or Rulership of God or Christ!!!… While God-(YHWH) permits ”THE SUPERIOR AUTHORITIES” to exist and maintain control of earthly government affairs, HE DOES NOT APPOINT HIS ANGELS OVER THEM. (Romans 13:1-7) Any ”PRINCES” or ”RULERS” over them could be placed there only by ”THE RULER OF THE WORLD,” SATAN THE DEVIL. They would have to be DEMONIC RULERS!!! rather than ANGELIC GUARDIANS… There are, then, invisible demonic forces, or ”princes,” behind the visible rulers, and International conflicts involve more than mere humans. Today we understand its a revelation in the 666 Art World Prison Domain! and 666 SURREAL BLASPHEMOUS DESIRES ART WORLD is a product of 666 Human Imperfections! And visit this: http://www.facebook.com/notes/bienvenido-bones-banez-jr/the-paradise-lost-into-666-art-world-colorful-sinner/10150208541243776
The RULER of This WORLD 666 and Reveal Himself {Satan the Devils!!!)
The master deciever often takes pride in boasting about his super power! so did the Devil when tempting Jesus, the Son of God. Described at Matthew 4:8,9,10- Again the Devil took him along to an unusually high mountain, and showed him(Jesus Christ) ALLl the Kingdoms of the World and their Glory, and he said to him(Jesus Christ) : ”ALL THESE THINGS I WILL GIVE YOU IF YOU FALL DOWN AND DO ACT OF WORSHIP TO ME(Satan)” According to most modern Bible translation, ”the wicked spirit forces” here refer, not to an abstract principle of evil, but to powerful wicked spirit persons! Some version offer such rendering as ”the spiritual host of wickedness in the heavenly places”{RevisedStandardVersion), ” the spiritual army of evil in the heavens”{TheJerusalemBible), and ”the superhuman forces of evil in the heavens”{TheNewEnglishBible). The Devil has been exercising his power through other rebel angels who forsook ”their own proper dwelling place” in heaven.- Jude-6.
666 WORLD RULER REPRESENTATIVE POWER to ASSOCIATES!!!
True Christians’ fight for the faith! the Apostle Paul clearly identified their worst enemies. ”We have wrestling,” he candidly said, ”not against blood and flesh, but against the governments, against the authorities, against the world rulers of this darkness, against the wicked spirit forces in the heavenly places.” –Ephesians 6:12. This fight goes beyond the human sphere, since it is carried out, ”not against blood and flesh,” but against ”wicked spirit forces.”
The angel was obviously not referring to Persian King Cyrus, who at that time looked with favor upon Daniel and his people. Moreover, how could a mere human king resist a spirit creature for three weeks when it took one angel only one night to destroy 185,000 mighty warriors? -Isaiah 37:36 , This hostile ‘prince of Persia’ could only be an agent of the Devil, that is, a demon who was given control over the realm of the Persian Empire. Later in the account, God’s angels stated that he would once again have to fight against ”the prince of Persia” and another demon prince, ‘the prince of Greece.”–Daniel 10:20
THE 666 ART WORLD SUCCESSION OF SEVEN WORLD POWER & Eigth the Final World Power!
WORLD ECONOMIC FORUM with UNITED NATIONS! Therefore, Simply that there really are invisible ”world rulers” demon princes who share control of the world under the authority of their chief, Satan the Devil’s source of political’s geniuses!!!
The Bible unmistakably identifies and unmask the one who has been maneuvering human leaders and the 666 world powers! Whether consciously or not, human society reflects the personality of its ruler and his ‘Rule or Ruin’ Policy!!!
666-SURREALISM to 666 Pansurrealism Art World: A study of creative potential of the unconscious mind, for example by the irrational juxtaposition of images.These are the product of Human Imperfection as for my conclusion 666-Art World; the art of automatic writing, automatic painting, automatic singing posses from demons, automatic verbal into unknown language and paranormal vision. And these are related to pure psychic in vision, and some our greatest Artists, Philosophers, Politicians & Scientists posses from variety spirit from fallen angels to the genius{plural genii} was the guiding demon spirit or ”tutelary deity-from-666 wisdom” of a person posses, 666 family-progeny{gens), or demon-place{genius loci/Lucifer); Demons and Satan we called them 666 geniuses in Intelligence & Nations from the ”Seed of the Serpents-Wisdom” these are the descendants from Adam and Eve sinned that cause us abnormal to fantastic desire into Surrealmageddon Art World!!!{1-Corinthians 3:19 & 20) Its our Universal answer: 666 Art World!
They still have great power and influence over the minds and lives of men, even having the ability to enter into and possess humans and animals, and the facts show that they also use inanimate into humans and things such as famous artists/scientists/ philosophers/politicians, houses: Gallery/ Churches/ Museum, High Tech Computer/ Internet, art-fetishes: clothing worn/ antique objects charms, sex-object, ancient-bones and visual & Jewels-charms. -Mt 12:43-45; Lu 8:27-33
Demon influence in human affairs is no less manifest today. In modern times demonized person were afflicted in various ways: some were unable to speak, some were acted insane into music performance, some were wizards in arts, and some possessed superhuman strength into super genius in the world of false religions, world of science, politics, business and arts! Sometimes the agony was compounded when many demons gained possession of a person at the same time. And today it happened that as we were going to the place of prayer, a certain common people with a spirit demon of divination. They used to furnish their master with much gain by practicing the art of prediction. So it is in this condition of dense spiritual darkness in 666 Art World Domain that they must now confine their operation into 666 Surrealmageddon Art World! ”Down the great dragon was hurled, the original serpent, the one called Devil and Satan, who is misleading the entire earth; he was hurled down to the earth, and his angels {demons) were hurled down with him. On this account… woe for the earth and for the sea, because the Devil has come down to you, having great anger, knowing he has a short period of time.” {Re 12:9,12).
Those who have faithful, therefore, must put up a hard fight against the Devil and his demons, obviously some of the world favor in Satan’s system; and according to Eph 6:12 – against the world rulers of this darkness, against the wicked spirit forces in the heavenly places.
In this regard the Theological Dictionary of the New Testament, edited by G. Kittel (Vol.II, p.8) remarks: ”The meaning of the adj[ective dai-mo’ni-os] bring out most clearly the distinctive features of the G[ree]k conception of demons, for it denotes that which lies outwith human capacity and is thus to be attributed to the intervention of higher powers, whether for good or evil. (To dai-mo’-ni-on) in pre-Christian writers can be used in the sense of the ‘divine’ ” (Translated and edited by G. Bromiley, 1971) When speaking controversially with Paul, some Epicurean and Stoic philosophers concluded: ”He seems to be a publisher of foreign deities(Gr.,dai-mo-ni’on).”–Ac 17:18.{take note Epicureans & Stoic are Demons inspired from the deep things of Satan’s Genius!)
Therefore 666 Art World speaks to Satan’s creative genius and honors the arts & science of the world!
”Every truth is tributations themselves”
The 666 Wild Beast Fertility was full of Blasphemous Names! Artist:Bienvenido Bones Banez jr. https://www.facebook.com/pages/Bienvenido-Bones-Banez/150434605055970 The 666 Wild Beast Fertility was full of Blasphemous Names! Artist:Bienvenido Bones Banez jr. https://www.facebook.com/pages/Bienvenido-Bones-Banez/150434605055970 The 666 Wild Beast Fertility was full of Blasphemous Names! Artist:Bienvenido Bones Banez jr. https://www.facebook.com/pages/Bienvenido-Bones-Banez/150434605055970 The 666 Wild Beast Fertility was full of Blasphemous Names! Artist:Bienvenido Bones Banez jr. https://www.facebook.com/pages/Bienvenido-Bones-Banez/150434605055970 EXTINCTION in the WORLD-666 (portion) 1984 666 WILD BEAST DOMAIN!!! THE GREAT PARADISE LOST!!! PARANOID EYES OF THE 666-WILD BEAST!!! Acrylic on Plywood 4′ by 8′ 2001 The 666 Wild Beast Fertility was full of Blasphemous Names! Artist:Bienvenido Bones Banez jr. https://www.facebook.com/pages/Bienvenido-Bones-Banez/150434605055970 666 WILD BEAST DOMAIN into the GREAT TRIBULATION!!! 11-11-2011 SATAN LEAPING FOR JOY!!! From THE GREAT PARADISE LOST!!! The Art of Bienvenido Bones Banez By Terrance Lindall The Seraphim שְׂרָפִים in a particular plate of the Elephant Folio of my Paradise Lost have paint brushes in one hand and flames in the other. They are painting with fire. Fire, the tools of Satan in hell, is the creative force of the universe. From the first explosion of the big bang there have been worlds created out of magnificent expanding fire. God wrote the Ten Commandments with His finger in fire. I was thinking of Bienvenido Bones Banez when I painted that. Bienvenido’s style I call “Fiero Electric” because he recognizes that the divine principle of creation is fire and color, and “Fiero Electric” because of Bien’s striking juxtaposition of primary colors. Satanic color! One of Bien’s many remarkable ideas is that “Satan gives color to the world.” Indeed, what a dreary world if everything were nice, sweet, and beautiful. We would soon go insane. Man struggles and finds meaning in the struggles. He writes operas and stories about the struggles of love, treachery and war and paints pictures of it. Do we not find Satan’s struggle in Paradise Lost more colorful than anything in Paradise Regained. Yes, Satan excites our imagination…he causes many of our struggles and on so doing gives color to the world! And there is no greater artist than Bien in the history of the world to capture this idea. On display at the WAH Center is a major painting that was only recently shipped to the United States. It is 6 by 8 feet! It came rolled up and had to re-stretched for this exhibit. Having been rolled up it now requires relining by a professional conservator. It is a work of supreme genius that needs to be saved for future generations to wonder at. The major fiery Satanic figure has outstretched arms like Matthias Grunewald’s masterpiece of crucified Christ in the Issenheim Altarpiece. In fact there is a small pale figure of Christ with a cross between his legs on this back of Satan and a church on the back of Satan’s head. I know that Bien believes the Christian church and all major religions have been coopted by Satan for his purposes. The ribs of Satan become two horns and a mouth opens with fangs that shoot lightening. Around the hole in the fabric of the universe though which Satan is manifested into our world are seen myriad worshipers and idolaters swimming in a blue circle and under Satan’s arms of Power and Dominion radiate the human tribulation of Bien’s 666 world Surreal Armageddon.
Bienvenido Bones Bañez Jr. Excerpted from JW-website Some 6,000 years have passed since Satan questioned God’s right to rule. What has history revealed? Consider two aspects of Satan’s allegation against God. Satan boldly told Eve: “You positively will not die.” (Genesis 3:4) By saying that Adam and Eve would not die if they partook of the forbidden fruit, Satan was in effect calling Jehovah a liar. A serious charge indeed! If God were not truthful in this matter, how could he be trusted in anything else? However, what has the elapsed time shown?
Adam and Eve became subject to sickness, pain, aging and, finally, death. “All the days of Adam that he lived amounted to nine hundred and thirty years and he died,” states the Bible. (Genesis 3:19; 5:5) And from Adam, this sad legacy has been transmitted to all mankind. (Romans 5:12) The passing of time has proved Satan to be “a liar and the father of the lie” and has shown that Jehovah is “the God of truth.”—John 8:44; Psalm 31:5.
Satan also told Eve: “God knows that in the very day of your eating from [the forbidden tree] your eyes are bound to be opened and you [both Eve and Adam] are bound to be like God, knowing good and bad.” (Genesis 3:5) With those cunning words, Satan presented humans with a sham opportunity to be self-governed. Deceptively, Satan implied that humans would be better off independent of God. Has this proved true?
Throughout the course of history, empires have come and gone. Every conceivable form of human government has been tried. Time and again, however, dreadful things have happened to the human family. “Man has dominated man to his injury,” a Bible writer wisely concluded some 3,000 years ago. (Ecclesiastes 8:9) “It does not belong to man who is walking even to direct his step,” wrote the prophet Jeremiah. (Jeremiah 10:23) Even scientific and technological achievements of recent years have not negated the truth of these statements. The passage of time has only proved these observations to be true
Bienvenido Bones Bañez Jr. Our world full of colors from Satan’s design! they don’t know the real world artists with outrageous anecdote about everyone from Leonardo {alleged sodomist) to Caravaggio (convicted murderer) Picasso’s blue period, behind bars!, buy this book ”Secret of Great Artists” recount the seamy, steamy, and gritty history behind the great master of international art. If you want buy this book? go this Quirk Books ”SECRET LIVES OF GREAT ARTISTS” Copyright 2008 / And WELCOME BONES 666 ART WORLD PROPHECY! That’s how Satan gave colour to the world! Well its SATANIC VERSES as a Surreal Blasphemous Technocratic Agenda 21!!! http://www.quirkbooks.com/book/secret-lives-great-artists
WHAT IS the definition of Satanic? There is another lie in the 666 art world system that Satan has effectively used—the lie and propaganda that YHWH{Jehovah) neither loves us nor values us. Satan has had thousands of years to study imperfect humans and that’s how Satan the Devil know true color of everything desire! Satan the world master he well knows that discouragement can weaken us and desperation individual in every living soul. (Proverbs 24:10) Hence, he promotes the propaganda, temptation being famous rich or superstar, fortune, glory, and lie that we are worthless in God’s eyes. If we are “thrown down” and become convinced that God-{YHWH) does not care about us, we may be tempted to give up. (2 Corinthians 4:9) That is just what the great Deceiver wants! How, then, can we guard against being deceived by this satanic lie? Researchers for the University of Alaska at Anchorage write: “Newspaper and magazine stories about the supposed explosion of satanic cult activity . . . have proliferated in recent years.” Experts say that there is little hard evidence to support claims of widespread Satanism among youths. Even so, there is no question that many young ones are interested in aspects of Satanism and the occult, even if such interest is only casual.
According to BBC News Online, popular TV programs that feature witchcraft and vampirism “encourage an interest in witchcraft among children, it is claimed.” Some heavy-metal music likewise features violent or demonic themes. Columnist Tom Harpur wrote in the Toronto newspaper The Sunday Star: “I must issue the strongest possible warning about what is happening [in music]. . . . I have never seen anything so depraved. The songs are obsessed with madness, possession, demons, blood, curses, violence of every kind, including rape, self-mutilation, murder, and suicide. Death and destruction, prophecies of doom, the denial of all that is good and the embracing of all that is hideous and evil—these are the themes.”
At 1 Corinthians 10:20, the apostle Paul warned Christians: “I do not want you to become sharers with the demons.” Just who are the demons, and why is it so dangerous to get involved with them? Simply put, the demons are former angels, who have chosen to follow Satan the Devil. Satan means “Resister” and Devil means “Slanderer.” According to the Bible, this former angelic son of God made himself a resister and a slanderer by choosing to rebel against God. In time, he enticed other angels to join him in his rebellious course. These allies thus became demons.—Genesis 3:1-15; 6:1-4; Jude 6.
Jesus Christ called Satan “the ruler of this world.”–{666 Art World Desire)(John 12:31) Satan and his demons have “great anger” over their impending destruction. (Revelation 12:9-12) Not surprisingly, those who have become involved with the demons have found them to be vicious. Getting involved with these cruel spirit creatures in any way is thus extremely dangerous!
Satan tries to influence the thinking of people by providing false information and deceptive propaganda. (Read 1 John 5:19.) In addition to printed material with deception writing, the global-desire including remote parts of the earth or 666 art world movement is blanketed with fantastic broadcasts via radio, smart phone, TV, and the world wide Internet control by 666 wild beast domain. Although such sources may feature items of interest, they often advocate conduct -extreme way and worldly standards that are contrary to YHWH-{Jehovah God Almighty) standard. (Jer. 2:13) For example, the news and entertainment industries speak of same-sex marriage or LGBT as if it were acceptable, and many people feel that what the Bible says about homosexuality is extreme.—1 Cor. 6:9, 10.
You might start by asking yourself about: Satanic way? ‘Do the songs I listen to glorify murder, adultery, fornication, and blasphemy? If I were to read the lyrics of certain songs to someone, would that person get the impression that I hate lawlessness, or would the words indicate that my heart is defiled?’ We cannot hate lawlessness in word while glorifying it in song. “The things proceeding out of the mouth come out of the heart,” said Jesus, “and those things defile a man. For example, out of the heart come wicked reasoning, murders, adulteries, fornications, thieveries, false testimonies, blasphemies.”—Matt. 15:18, 19; compare James 3:10, 11.
The Devil has raised the issue of universal sovereignty. Related to it, he has called into question the integrity of humans to their Creator. Satan brought persecution upon the upright man Job. Why? In order to break Job’s integrity to YHWH-{Jehovah). Job’s wife and his three “troublesome comforters” served the purpose at that time. As shown in the book of Job, the Devil challenged God, claiming that no human would remain faithful to Him if Satan were allowed to test that person. But Job held fast his integrity, thus proving Satan a liar. (Job 1:8–2:9; 16:2; 27:5; 31:6) The Devil persecutes the true Christian today in an effort to break their integrity and prove his challenge true.
John was informed that “the dragon [Satan the Devil] gave to the beast its power and its throne and great authority the world government-666 art world.” (Revelation 13:1, 2, 7) Yes, Satan is the source of the power and authority of every human governments of the world. Thus, as the apostle Paul wrote, the true “world rulers” are “wicked spirit forces in the heavenly places,” who control human governments-{United Nation).
The Wild Beast 666 – United Nation-{Satanic) control of the earth will soon be gone. Man will no longer ‘dominate man to his detriment.’ (Eccl. 8:9) The many discordant rulerships of today will be replaced with one government—God’s Kingdom under the rulership of Jesus Christ and 144,000 (Isa. 9:7; Dan. 7:13, 14; Rev. 11:15) But peace, justice, and righteousness will not be the only hallmarks of that perfect Kingdom rule. Our physical needs will also be fully cared for. (Ps. 72:16; 145:16) Even so, would we be content to have all these blessings if sickness and death yet awaited us? Kingdom rule will address these matters as well. God has decreed: “I am making all things new.” Sorrow and suffering will forever be things of the past. Yes, “death will be no more, neither will mourning nor outcry nor pain be anymore. The former things have passed away.” Praise be to our God! Yes, Jehovah-{YHWH), “let your Kingdom come”!—Rev. 19:6; 21:3-5. {After 666-Surreal-Armageddon there will be PARADISE REGAINED!!! that’s according Master John Milton!)
Bienvenido Bones Bañez Jr. MASTER JIM MORRISON The Great Visionary 666 Art World from the Paradise Lost! Jim Morrison one of the greatest artists of all time! Why? Jim exposed everything from our world power of 666 system but he used a poetic into terrible-sublime art! Visionary Jim Morrison our greatest artists of them all! Listen from Master Jim Morrison – https://youtu.be/-mLNShkvOz8
Bienvenido Bones Bañez Jr. Excerpted from -{In War Is A Racket (1935)), Butler points to a variety of examples, mostly from World War I, where industrialists, whose operations were subsidised by public funding, were able to generate substantial profits, making money from mass human suffering. / For us its a part of John Milton’s Paradise Lost and the Creators of The 666-Theos Surrealmageddon Art World of the Great Tribulation! -{ https://en.m.wikipedia.org/wiki/War_Is_a_Racket
Signed limited Giclee prints available of Terrance Lindall’s art: 24 X 36 — $1500 13 X 22 — $1000 Other sizes available on request Choose any image you want from our website.
100% Rag – Acid Free Paper with a Watermark 6& Deckled Edges (Arches, Rives, Somerset, etc.). For Fredrix Canvas, add $100. Shipping & insurance extra.
Terrance Lindall was born in 1944 in Minneapolis, Minnesota. He attended the University of Minnesota, and graduated magna cum laude from Hunter College in New York City in 1970, with a double major in Philosophy and English, and a double minor in Psychology and Physical Anthropology.
Terrance Lindall’s surreal/visionary art has been on the covers of numerous books and magazines and has been exhibited at many galleries and including the Brooklyn Museum, Hudson River Museum, and The Museum of the Surreal and Fantastic.
Here are some of the things that have been said of his art:
“Lindall’s version (of Milton’s Paradise Lost)…is considered to be the twentieth century’s most notable contribution to the tradition of fine art illustrations in homage to Milton’s visionary genius. ” wikipedia.org/wiki/Paradise_Lost
” It is nice to know there is a latter day Bosch around”– Dr. Leo Steinberg, Art Critic
” Terrance Lindall’s fanciful illustrations are bound to arouse response & provoke thought in the may persons interested in PARADISE LOST & its subjects & in surreal illustration generally” –Professor Thomas Clayton, University of Minnesota Department of English
” Clearly avoiding the view that Pop imagery is inherently a sign of trauma, Terry Lindall employs the cartoon elements of style with a charming and often unnerving directness and simplicity, frequently aimed at causing a trauma all his own. This is particularly the case with his illustrations of Milton’s Paradise Lost, with which he reaches a hyper-intensified and nearly hysterical verve. “ –Mark Daniel Cohen, Critic for Review Magazine and NY Arts Magazine
” The high water mark in the Golden Age of this uniquely American Art form..” –James Kalm, NY Arts Magazine
” Surreal nightmare…DNA seems to have gone berserk” –The New York Art World Magazine Nov. 1999
” …since I was a teenager back in 1982… I’ve considered Terrance Lindall one of the globe’s greatest artists. My particular favorite is his intense adaptation of PARADISE LOST, which never fails to instill a pervasive dread in my mind.” Greg Fasolino 1997
” Natural insanity” Art Alternative Magazine 1996
” …eerie, magical, dreamlike, devastating, jarring…Lindall’s illustrative style is magnificent!”
— Julie Simmons, Editor in Chief, Heavy Metal Magazine 1980
” Lindall’s use of color & detail to achieve effect, his dramatic compositions, but most of all his totally unique vision make him a new wave artist to be reckoned with.”
— Louise Jones, Senior Editor, Warren Communications 1980
” Lindall’s striking and unique visionary fantasy art is breaking new ground in the field”
–David Hartwell, Senior Editor POCKET BOOKS, Simon & Schuster 1980
” My reward for the purchase of a Lindall masterwork has been a cover that draws raves. It is a very valuable addition to my collection of fine art.”
— Stuart David Schiff, twice winner of the World Fantasy Award & editor of the acclaimed WHISPERS anthologies
The magazines CREEPY, EERIE, VAMPIRELLA, HEAVY METAL AND MARVEL’S EPIC, and Rod Serling’s TWILIGHT ZONE, for which he produced some of the most dazzling art of an era, are now highly sought after collectibles. The work he did for these magazines is part of the history of an important American art form, which has influenced many young persons and would-be artists growing up in America and around the world.
Apart from being an artist, Terrance Lindall has a background in philosophy and has been active in the intellectual realms of the Williamsburg Brooklyn art community over the past few years. His recent essay THE EPISTEMOLOGIOCAL MOVEMENT IN LATE 20TH CENTURY ART assesses the new artistic trends in the contemporary art world and it’s context in new thinking about fractal geometry, quantum mechanics, historical will, and epistemological and analytic traditions. The shows that he has recently curated, Charles Gatewood’s THE BODY AND BEYOND (1997) and APOCALYPSE 1999, electrified Williamsburg and the international art world. APOCALYPSE 1999 was the most lavish art production seen in Williamsburg to date with over 125 artists from around the world and incorporating many provocative musical and theatrical productions. Since then Lindall has produced the show BRAVE DESTINY [Largest gathering of surrealists in the 21st century], the worlds largest show of Surreal/visionary artists in the world (nearly 500 artists). The opening reception was a grand surrealist costume ball to which people flew in from countries around the world for the one night event, including Zimbabwe, Australia, England, Europe Canada, Mexico and all across the United States. The arriving guests stopped traffic on the Williamsburg Bridge, the second time Lindall’s shows have done this. To evaluate the importance of the show he wrote his NEW INTERNATIONAL SUUREALIST MANIFESTO (NISM) *[http://www.cinemavii.com/Events/BraveDestiny/NISM.htm Lindall’s Manifesto], which subsequently redefined “surrealism” for a new generation. He said, “The NISM is a revolution against the long dead notions of groups of ‘Trotskyite’ surrealists world-wide.” The resulting effect was to have members of those groups sign a letter threatening to burn down the show and kill the participants. “Proves what idiots they are,” said Lindall.
Terrance Lindall is a builder of institutions such as the Greenwood Museum in upper New York State, and has worked with Yuko Nii in developing the Williamsburg Art & Historical Center, which has achieved international recognition in the emerging art world. A full-page article appeared in the New York Times about their creation of this institution.
THE PARADISE LOST ELEPHANT FOLIO In 2011 and 2012 Lindall will be working on production of “The Paradise Lost Elephant Folio,” a hand-embellished and gold illuminated 13 x 19 inch book containing 14 full-page printed illustrations with hand-painted illustrated borders.
The borders of the elephant folio are complete paintings in themselves. Although the border art focuses principally on elements of design, they also tell stories or make commentary about what is illustrated in the featured central paintings. The borders also are tributes to both humanity’s great achievements, such as music, dance and architecture, as well as tribute to those individuals and institutions and friends who have had important influences on his ideas, or who have shown substantial support or affinity. For example, the Filipino surrealist artist Bienvenido “Bones” Banez, Jr. discovered Lindall’s repertoire during the Brave Destiny Show and communicated to Lindall the idea of how “Satan brings color to the world.” Lindall thought the idea to be an insightful and original “affinity” and so he honors Banez in the page of the elephant folio that is a tribute to art by placing Banez’s name under an artist’s palette of colors in the border.
The Paradise Lost Elephant Folio In 2011 and 2012 Lindall will be working on production of “The Paradise Lost Elephant Folio,” a hand-embellished and gold illuminated 13 x 19 inch book containing 14 full-page printed illustrations with hand-painted illustrated borders.
The borders of the elephant folio are complete paintings in themselves. Although the border art focuses principally on elements of design, they also tell stories or make commentary about what is illustrated in the featured central paintings. The borders also are tributes to both humanity’s great achievements, such as music, dance and architecture, as well as tribute to those individuals and institutions and friends who have had important influences on his ideas, or who have shown substantial support or affinity. For example, the Filipino surrealist artist Bienvenido “Bones” Banez, Jr. discovered Lindall’s repertoire during the Brave Destiny Show and communicated to Lindall the idea of how “Satan brings color to the world.” Lindall thought the idea to be an insightful and original “affinity” and so he honors Banez in the page of the elephant folio that is a tribute to art by placing Banez’s name under an artist’s palette of colors in the border.
Terrance Lindall has recently announced the upcoming Gold Elephant Folios, projected to be available by September 2014, in which Bien’s Satanic Verses will be illustrated with his own images centered and Lindall’s images along the periphery. Lindall’s work of this sort has already been praised highly by renowned Milton collector Robert J. Wickenheiser:
Without a doubt, Terrance Lindall is the foremost illustrator of Paradise Lost in our age, comparable to other great illustrators through the ages, and someone who has achieved a place of high stature for all time.
That quote appears at the website linked to just under the above image, as does a quote from me:
The poetic conceit that Bones is working with is that we’re already living in the tribulation of the eschaton, and the poem is his artistic vision, accompanied by vivid, electrifying artworks depicting, in some way, those troubled times.
I’ve said even more about Bien’s art and self-commentary, in an email to Lindall:
Bien’s a great artist. His writing is not always the clearest in meaning, but I’ve found that if I don’t try to pin down too precisely what he means, then I can understand him well enough. His writing is, of course, bound to be of interest to future art critics and art historians.
There’s a certain fallen glory in the images that he displays — like stained glass windows of hell. I’ve never seen anything quite like them.
Bien’s Satanic Verses might seem more clear than his raw words themselves, for they’ve undergone some editing by Lindall and me, but the words should never be taken quite so literally as one might think, but, rather, literarily!
I’ll be interested in seeing the final product, which may differ to some degree from the version I edited . . .
Horace Jeffery HodgesI am a retired professor. I last taught at Ewha Womans University, mostly composition, research writing, and cultural issues, but also the occasional graduate seminar on Gnosticism and Johannine theology and the occasional undergraduate course on European history. My doctorate is in history (U.C. Berkeley), with emphasis on religion and science. My thesis is on John’s gospel and Gnosticism. I’m also an award-winning writer, and I recommend my novella, The Bottomless Bottle of Beer, to anyone interested. I’m originally from the Arkansas Ozarks, but my academic career — funded through doctoral and postdoctoral fellowships (e.g., Fulbright, Naumann, Lady Davis) — has taken me through Texas, California, Switzerland, Germany, Australia, and Israel and has landed me in Seoul, South Korea. I’ve also traveled to Mexico, visited much of Europe, including Moscow, and touched down briefly in a few East Asian countries. Hence: “Gypsy Scholar.”
Happy 16th Birthday The Williamsburg Historical Arts Center WAH has created a home for emergent and established artists alike. WAH is the place where kindred spirits who share a love of art can gather and enjoy the experience of showcasing their work and appreciating the work of fellow artists. Thanks to Yuko , her vision and her warmth all who enter WAH feel warm and welcome. Happy 16th Birthday Laura Conliffe
Happy 16th Birthday to WAH Center and Yuko! Founding the organization and leading it for 16 years is a tremendous accomplishment. It’s all because Yuko’s great talent as a curator, passion to move forward and her kindness to artists. This was not possible without Terrance’s teamwork. Jim and Yumiko Nolan
Dear Wah Center, At age 16 i did not have a “voice”. Now i do. You “heard” me and embraced me! Happy Birthday!! Gloria Schuster
Happy Sweet 16! Brooklyn is very lucky to have you. Grace Azar
Sweet Sixteen…brava WAH! Wishing you a creative future filled with many accomplishments… Oxford Dictionary of English “wah exclam. Indian used typically to express admiration: wah, you look handsome enough to gladden my mother’s heart! from Hindi vāh.” ~ • ~ • ~ Have a creative day, CHUCK BERK Fine Art Studio…
Thanks Yuko! You have a wonderful space, much lock with all the wonderful things I know you will do. Jocelyn Toffic T
Look what the WAH Center has accomplished in sixteen years; imagine what the next sixteen years will bring! Congratulations and best wishes to a powerful force in the art scene of New York City. It is a privilege to be a part of such a vital organization. Happy, happy birthday. Mary Westring
Who knew there was such a little gem hidden away in Willamsburg!!! , and so accessible too, and fun!! Amanda Husberg
Tra la-la-la-la-la-la-la-la, Happy birthday sweet sixteen. Richie Lund
Dear Yuko Nii, staff, and artists at the WAH center My connections began with the WAH center, when I first came to New York, and visited the gallery to see a group show including one of my favorite NY artists. The connection continues, as I have been able to show my own work at the gallery. I hope that Yuko’s joyful vision will continue to flourish in Williamsburg for many many more years, bringing artists of different generations and backgrounds together in a vibrant community. Thank you WAH!
Katherine Toukhy Birthdays are a wonderful time to look back and celebrate all that has been accomplished. Thank you WAH Center for what you are doing for Artists and the Arts! I’m certain that all will warmly appreciate your impact and significance for generations.
Happy Birthday WAH Center! Cheers!! With love and peace, Jania Vanderwerff
Regardless, I wish WAH one super slammin sixteenth birthday and then sixteen hundred more just like it. Yuko, thank you so much for all you are doing for your community and for the arts. May WAH still be strong and thriving long after us. Take care and I hope to see you soon. Linda Billet
Dear Yuko, Congratulations on your 16.WAH birthday. Have a happy birthday party, Love, Kerrin Grafin von Schwerin
Apio Verde to you; apio verde to you; apio verde, apio verde, apio verde to you! I’ts a Puerto Rican way that some people sing for Birthdays. Wish you the best for the great labor you have done all these years especially with people like me. Thanks, Carmen Porfido
HAPPY BIRTHDAY, dear Yuko Superwoman! And many more. Anita Corey
This is sent in appreciation of my dear friend Yuko Nii, who I hope is not so modest as to not to post this tribute. Many years ago Yuko shared this viision for the WAH Center with me and friends at a weekend in the Hamptons. Yuko was then a new friend but I sensed this deep spirituality and strong purpose of being. I am not surprised that in fulfilling her dream she has created this amazing cultural center. Yuko is a treasure that we are fortunate enough to call an adopted American. and claim her as part of our heritage. What a miracle that her dear father had a love for this country and instilled it in his daughter so that she sought her future here and put down roots in New York. I am so proud of my friend and her generosity and example of goodwill and charm…May we all learn from her example. Happy Birthday WAH Center and many more triumphs ahead! Sincerely, Carol J. Becker
!!! Happy Sweet 16th Birthday WAH Center and Yuko & Terry !!! !!! Congratulations for your survival with good works !!! !!! LONG LIVE THE WAH CENTER !!!
Best wishes, Tamiko Kawata
Hello lovely people of WAH Center!!! “Happy Birthday!” and “Many more!” The friendship; the warm welcome; the showcasing of the well-known and the undiscovered; the performances and exhibitions; poetry; dance and music are some of the reasons why I go to the WAH many times a year. I know I miss a great deal, but that’s because I have a hard time getting out. Otherwise, you would see me more often. As artists, we are all very grateful to all the galleries and museums and wall spaces and project rooms that show our work. And the WAH Center is on top of my gratitude list! And we should have a birthday party and celebrate and invite all the collectors and curators and the big wheels and the wonderful smaller wheels and watch it RUN!!! Gülsen Calik
HAPPY 16TH BIRTHDAY Who knew there was such a little gem hidden away in Willamsburg!!! , and so accessible too, and fun!! Amanda Husberg
On WAH’s Sweet 16th Anniversary HAPPY ANNIVERSARY YUKO! TIME FOR HARVESTING! Love, Carmen Frank
I want to send my best wishes with a reading for WAH: The Williamsburg Art and Historical Center is a rare gem among the monolith artistic institutions destined for the pages of history for centuries to come. I share my vision for the WAH which at first took my breath away when I felt its influence and foresight which grew stronger in not only cultural and educational value but for its multicultural expressions of dance, poetry, theatrical and musical performance and a wide spectrum of visual arts: paintings drawings and sculpture, and for its magnificent collection of art. Yuko Nii, Terrance Lindall; your generous spirit planted the seeds of great achievement in the garden of cultural excellence. Happy Birthday WAH! Sharyne E. Walker, Artist
The Williamsburg Art and Historical Center (WAH) has brought art alive in exciting new ways while leading the way in rejuvenating an area known as Williamsburg, Brooklyn, now a center for art and artists and others who want to live in a vibrant community. This dramatic renewal has been the result of the strong and dedicated leadership of the WAH Center and Yuko Nii and Terrance Lindall over 16 magical and inspiring years. Happy 16th and many more wonderful birthdays in your even more exciting years ahead!
Congratulations, Yuko and Terrance, on this grand event and its wonderful success, and also on the tremendous influence you have had on art and culture not just in your area, but throughout New York City and throughout our country! Your vision and dreams have served you and everyone else profoundly well and because of your vision and dreams we are all so very much better. Your tremendous belief and commitment have proven to be the basis for your great success as well as the powerful influence you have had on many, many generations past, present and future.
With much admiration, Robert J. Wickenheiser Milton aficionado and scholar, 19th President of St. Bonaventure University, and Chair of Williamsburg Circle of International Arts and Letter of the WAH Center.
Dear Yuko and Terry, Dear Yuko Enjoy and a very Happy Birthday RoCa, Rodriguez Calero Visual Artist
“Happy 16th birthday to the WAH Ctr.! Kudos to Yuko Nii and Terrance Lindall for helping to keep Brooklyn in the forefront as one of the worlds greatest art meccas!! Your dedication, hard work, and genuine care for the community have proved to be invaluable!!!” Chris O’Brien
May the WAH center live in peace, harmony and unity! May the shows of the WAH center bring to the people love, growth, joy, peace harmony and unity! Happy birthday! Francine Demeulenaere
Dear WAH Center, You’ve come such a long way! May the bridges you have built through creativity, love, and solidarity continue to sustain artistic growth and a strong sense of community for years to come! My best love and wishes, Raquel Guarino
Dear Sir Terrance Lindall & Ma’am Yuko Nii,
WAH CENTER!! YES! ITS A GRAND CELEBRATION WAH CENTER AND SWEET 16TH BIRTHDAY! HAPPY BIRTHDAY WAH-16TH! or SWEET WAH 16TH BIRTHDAY! MORE BLESSING TO COME! WAH Forever! Your Brother Bienvenido Bones Banez Jr.
Dear Yuko & Terrance, Happy Sweet 16! The WAH Center has been a consistently progressive force for opening eyes and minds of the community to the stirring visions of its community of artists. It has offered an exhibition space to artists whose visions are not always the most commercially viable ones, but whose originality deserves to be celebrated. I have always found much of the work that you exhibit as well as the performances that you put on, to be revelatory and inspiring. May you go on and on in your present course. Joel Simpson
Yuko Nii is an Art Santa Claus. Shes grown the WAH over all these years. It has become a special Art Center I support with Pride and Devotion. The WAHs poignant value is: GOOD ART WILL RECEIVE EXPOSURE giving Artists a place to show whatever their hearts create. The WAH burst through Yukos Heart, became the WAH Center and gave Artists Hearts the chance TO BE FREE and TO CREATE . From my Heart to the WAHS Heart to Yukos Heart comes my Heartfelt THANKS because the WAH is here to grow, flourish and mentor artists forever. Estelle Levy
Dear Nii-sama, I am always happy to hear that you are doing well. Congratulations, WAH Center’s Sweet 16th Birthday! I wish if I could come there and join the wonderful show. Much Love Always, Shungo Shimizu
I have known Yuko Nii slightly longer than the WAH Center and have witnessed steady growth, enviable success, and achieved ambition each passing year. Happy 16th and many more to come! Your friend, Ellen K. Levy
Happy Birthday to the Williamsburg Art & Historical Center and to its loving caretakers Yuko and Terrance. WAH as an institution can look back in pride at its accomplishments and the impact it has made on the artistic community. The gallery shows are a perpetual showcase for this planet’s finest artists both emerging and recognizably established. WAH makes Williamsburg and New York City a richer experience with innumerable artistic pleasures and experiences. As an artist fortunate enough to participate in its gallery offerings I can say that I’ve met and continue to enjoy the company of fellow WAH artists whose diligent pursuit of creating world-class art is an both inspiration and humbling experience.
May this and every birthday that follows celebrate enjoy a prosperous and growing influence in the world’s art scene. Cheers and balloons, Frank Krasicki
Yuko, My heartiest congratulations for a great “Sweet 16” birthday for the WAH Center and wishes for continued success! Like a fine wine, it continues to get better and better as time goes on. I look forward to celebrating this important achievement with you and our fellow artists. Warm Regards, Jeff Watts
Hi Yuko, Great to hear of all the wonderful successes of WAH Center, and a “Very Happy Birthday to WAH!” All the best, Richard Hatter
Happy 16th Birthday WAH Center! May your Brave Destiny to bring arts to many flourish for many years to come. Cheers! Matthew Turov
Happy 16th Birthday WAH Center! WAH is a beautiful, eclectic, and historic site for artists. Cheers! Courtney Lee Weida
Dear Yuko & Terry, As we celebrate the 16th Anniversary of the Williamsburg Art & Historical Center, we look back at the 16 years of community-oriented achievements of Brooklyn’s own unparalleled cultural institution; but we also look forward to the future of the WAH Center as it expands its scope as a multi-disciplinary art center bridging the gap between young and old, local and global. I am so honored to be involved with the WAH Center at its most dynamic phase yet.
I congratulate you two as the pioneers of the Brooklyn art world, introducing so much more than a museum to the Williamsburg community at a time when Brooklyn was in its darkest era. You have undoubtedly been instrumental in the transformation of society by shining the light of culture and reason on a neighborhood in the shadows. I admire what you have done, and your energy and devotion to this cause never cease to amaze me. I love you both very much.
As with composers who write one work so popular that people never trouble to listen to anything else by them, or even to realise they wrote anything else (so what did Holst do besides The Planets, for example?) so it is with certain poets. One might imagine Gray lived solely to write his “Elegy”, or Spenser The Faerie Queene; and my purpose here is to describe the achievement of John Milton, in my opinion the finest poet in our language, and how it extends beyond his famed Paradise Lost.
Parts of that work are inestimable in their use of language, their musicality, their drama: read, if you doubt me, the opening of Book II. But Milton’s undoubted genius rests as much on his other works: on poems, such as “Lycidas” (“Tomorrow to fresh woods, and pastures new”) and “At a Solemn Musick”, but especially on his sonnets. He wrote some in Italian – he was a man of formidable learning, being also Oliver Cromwell’s Latin secretary and handler of his diplomatic correspondence – but his English sonnets have entered our consciousness, and exemplify the sonnet form in a way Shakespeare and Spenser before him, who both wrote many more, could not always match, and which Wordsworth after him struggled to emulate.
The title-page for the first edition of Milton’s Paradise Lose (1667) CREDIT: Houghton Library
Even if you think you aren’t familiar with Milton’s sonnets, they are part of your cultural landscape. His most famous, known (but not by him) as “On His Blindness”, ends with the immortal line “They also serve who only stand and wait”. In another, he it was who first described his master, Cromwell, as “Our Chief of Men”, and who made the phrase “Peace hath her victories/No less renowned than War”. And in his most unusual sonnet (a 20-line “caudate” variation on the traditional 14-line form), “On The New Forcers of Conscience” , written to describe the theological upheavals of the period after the Civil War, he coined the much-imitated “New Presbyter is but old Priest writ large”.
But it is not Milton’s quotability that elevates his sonnets: it is, as Hazlitt wrote almost 200 years ago, his ability to use the mere 14 lines, or 140 syllables, of the form to express the most profound thought in the most arresting way. Hazlitt praised his ability to write “as it were with undivided breath”; and said the verse was “a sigh uttered from the fullness of the heart, an involuntary aspiration born and dying in the same moment”. Thanks to the printed word Milton’s aspirations did not die: and we can see in them, more than 350 years later, the full force of his personality, his learning, his conviction, his rough humour, his seriousness and, above all, his belief in freedom of expression. These are qualities shining out from Milton’s prose works, which are even more neglected than his sonnets and which exhibit the same genius. When the Leveson inquiry into press regulation was sitting I was reminded that the first man to stand up for the right of the press to have free expression was Milton, in his “Areopagitica”: and how sad it was that the arguments of the 1640s should have to be replayed in the 2010s.
‘Milton dictates to his daughters’ by Eugène Delacroix (1826) CREDIT: The Yorck Project
His humour, conviction and poetic brilliance all manifest themselves in “On the Detraction Which Followed Upon my Writing Certain Treatises”, in which he uses the sonnet to ridicule those who attacked him for writing a pamphlet advocating divorce, “Tetrachordon”, He manages to rhyme the word (which refers to four books of the Bible from which he was adducing theological support for the doctrine of divorce) with the phrase “now seldom pored on”: and he continues to rhyme radically to convey his mischief and his contempt – “Cries the stall-reader, ‘Bless us! What a word on/A title-page is this!’; and some in file/Stand spelling false, while one might walk to Mile-/End Green.”
Yet his sonnets are the perfect vehicles for more intense feelings. Cromwell was one “who through a cloud/Not of war only, but detractions rude,/Guided by faith and matchless fortitude,/To peace and truth thy glorious way hath ploughed”. A massacre of Protestants in Piedmont brought the opening: “Avenge, O Lord, thy slaughtered Saints, whose bones/Lie scattered on the Alpine mountains cold”; he goes on to describe how “Their moans/The vales redoubled to the hills, and they/To heaven.” Most touching is his sonnet “On His Deceased Wife”, whom he imagines he has seen in a dream but then “I waked, she fled, and day brought back my night”. No wonder Wordsworth said of him, in a sonnet, “Thou hadst a voice whose sound was like the sea,/Pure as the naked heavens, majestic, free.” It is a voice we should hear again.
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AboutEscape Into Life features art and literature by emerging and established artists from all over the world.
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Terrance Lindall
Artist Bio
Terrance Lindall is an American artist who was born in Minneapolis, Minnesota in 1944. Lindall attended the University of Minnesota and graduated magna cum laude from Hunter College in New York City in 1970, with a double major in Philosophy and English and a double minor in Psychology and Physical Anthropology. He was in the Doctor of Philosophy program in philosophy at New York University from 1970 to 1973. He is listed in Marquis Who’s Who in America 2006. Information about this artist is also on file in the Smithsonian Institution Library Collection. Lindall’s art has been on the covers of numerous books and magazines and has been exhibited at many galleries and museums, including the Brooklyn Museum, Hudson River Museum, the Museum of the Surreal and Fantastic and the Society of Illustrators Museum. (wikipedia)
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Selections from Paradise Lost Plates: 
👁️John Milton's Wickedpedia-Surrealmageddon🌈Visual👁️Poetry🗽🇺🇸 