Spare's esoteric legacy was largely maintained by his friend, the Thelemite author Kenneth Grant in the latter part of the 20th century, and his beliefs regarding sigils provided a key influence on the chaos magic movement and Thee Temple ov Psychick Youth.

The Spare's first child to survive was John Newton Spare, born in 1882, with William Herbert Spare following in 1883 and then Susan Ann Spare in 1885.

His father then submitted two of Spare's drawings to the Royal Academy, one of which, a design for a bookplate, was accepted for exhibition at that year's prestigious summer exhibition.

One of those attracted to Spare's work was Aleister Crowley ( 1875 – 1947 ), an occultist who had founded the religion of Thelema in 1904, taking as its basis a new holy text known as The Book of the Law.

Spare's major patron during this period was the wealthy property developer Pickford Waller, although other admirers included Desmond Coke, Ralph Strauss, Lord Howard de Walden and Charles Ricketts.

The actual nature of Spare's sexuality at the time remains debated ; his friend Frank Brangwyn would later claim that he was " strongly " homosexual but had suppressed these leanings.

" The book sold poorly, and received a mixed review from the Times Literary Supplement, which while accepting Spare's " technical mastery ", was more critical of much of the content.

Surrealism took an interest in automatism and the unconscious, just like Spare's work, and although he did not think highly of the surrealists, he was often described at the time as a British forerunner of the surrealist movement ; indeed, the reporter Hubert Nicholson ran a story on him titled " Father of Surrealism – He's a Cockney !".

In the ensuing Blitz of London by the German Luftwaffe, Spare's flat and all the artwork in it was destroyed by a bomb on 10 May 1941, leaving him homeless.

One of those who had seen the show was publisher Michael Hall, and impressed by Spare's work, he commissioned him to help provide illustrations for his new periodical, The London Mystery Magazine.

Rushing to see him at his hospital bed, it was here that Spare's two dearest friends, Kenneth Grant and Frank Letchford, met one another for the first time.

According to one author, Spare's magical rationale was as follows, " If the psyche represses certain impulses, desires, fears, and so on, and these then have the power to become so effective that they can mold or even determine entirely the entire conscious personality of a person right down to the most subtle detail, this means nothing more than the fact that through repression (" forgetting ") many impulses, desires, etc.

In addition to Spare's work, this experimentation was the result of many factors, including the counterculture of the 1960s and early 1970s, the wide publication of information on magic by magicians such as Aleister Crowley and Israel Regardie, the influence of Discordianism and Robert Anton Wilson, and the popularizing of magic by Wicca.

The family moved frequently as Spare's jobs moved, and the only place whose name Head could later recall from her early years was Searchlight, Nevada.

Edited and introduced by Frederick Carter, the book once more dealt with Spare's mystical ideas, continuing many of the themes explored in The Book of Pleasure.

The following passage in a discussion of an exhibit including Spare's work in the summer of 1965 suggests some critics had hoped he would disappear into obscurity forever.

Detail of a drawing from one of Spare's sketchbooks.

The cover graphics feature Austin Osman Spare's General Allegory and other illustrations from his Automatic Drawings and Book Of Satyrs.

In The Azoëtia Chumbley presents " Will, Desire, Belief " as a threefold unity operating in sorcery ; this is ultimately derived from Spare's work, although the primary textual source is Grant.

Spare's art once more began to receive attention in the 1970s, due to a renewed interest in art nouveau in Britain, with several retrospective exhibitions being held in London.

Two visitors to Powell's, Sir William Blake Richmond and FH Richmond RBA, came across some of Spare's drawings, and impressed, they recommended him for a scholarship to the Royal College of Art ( RCA ) in South Kensington.

Proud of his son's achievement, Spare's father would later inquire as to whether the publisher John Lane of Bodley Head would be interested in re-printing A Book of Satyrs, leading to the release of an expanded second edition in 1909.

The World commented that " his inventive faculty is stupendous and terrifying in its creative flow of impossible horrors ", while The Observer noted that " Mr. Spare's art is abnormal, unhealthy, wildly fantastic and unintelligible ".

Here, they became neighbours to Spare's old friend Sylvia Pankhurst, with Spare also befriending several local Jews, reading works of Jewish literature such as the Zohar and The Song of Solomon in order to impress them.

Influenced by the work of El Greco, they were exhibited at the Godfrey Phillips Galleries in St James's, Central London in November 1930, an exhibit that proved to be Spare's last in London's West End.

Much of the art that Spare produced in what the biographer Phil Blake called " the Grant period " reflected Spare's interest in tribal art, which both Grant and Spare collected.

Spare's work is remarkable for its variety, including paintings, a vast number of drawings, work with pastel, a few etchings, published books combining text with imagery, and even bizarre bookplates.

An anonymous review of The Book of Satyrs published in December 1909, which must have appeared around the time of Spare's 23rd birthday, is by turns condescending and grudgingly respectful, " Mr. Spare's work is evidently that of young man of talent.

Our critic ends his review with the observation that Spare's " drawing is often more shapeless and confused than we trust it will be when he has assimilated better the excellent influences upon which he has formed his style.

And while essentially a static worldview, by the 18th and early 19th century it had been " temporalized " by the concept of the soul ascending or progressing spiritually through the successive rungs or stages, and thus growing or evolving closer to God.

Mosse traced the origins of Nazism in völkisch ideology back to a 19th-century organicist worldview that fused pseudo-scientific nature philosophy with mystical notions of German soul.

Within this worldview, it was reasonable to believe that astrology could be used to predict the probable future of a human being.

This was not a cynical use of religion to manipulate his subjects into obedience, but an intrinsic element in Alfred's worldview.

This childhood tragedy likely helped shape Capp ’ s cynical worldview, which, funny as it was, was certainly darker and more sardonic than that of the average newspaper cartoonist.

Their worldview was shaped and influenced by the anticommunism of that time.

Though they were very close friends for a while, it was ultimately the differences in worldview and personality that led their friendship to strand.

This worldview was adopted from this religious culture by Brahmin orthodoxy, and Brahmins wrote the earliest recorded scriptures containing these ideas in the early Upanishads.

Mercantilism was closely aligned with the other theories and ideas that were replacing the medieval worldview.

Therefore, the Manichaean worldview explained the existence of evil with a flawed creation God took no role in forming and was the result of Satan striking out against God.

Animism was also a concept common to many pre-Christian European religions, and in adopting it, contemporary Pagans are attempting to " reenter the primeval worldview " and participate in a view of cosmology " that is not possible for most Westerners after childhood.

While racial mysticism played a key role in his own worldview, Spengler had always been an outspoken critic of the pseudo-scientific racial theories professed by the Nazis and many others in his time, and was not inclined to change his views upon Hitler's rise to power.

Again, for early 20th century physics, the transition between the Maxwellian electromagnetic worldview and the Einsteinian Relativistic worldview was neither instantaneous nor calm, and instead involved a protracted set of " attacks ," both with empirical data as well as rhetorical or philosophical arguments, by both sides, with the Einsteinian theory winning out in the long-run.

While they were very close friends for a while, it was ultimately the differences in worldview and personality that led their friendship to strand.

Humboldt's work was concerned more with what he called Weltansicht, the linguistic worldview.

In Underhill's work, a distinction is made between five forms of worldview: world-perceiving, world-conceiving, cultural mindset, personal world and perspective, in order to convey the distinctions Humboldt was concerned with preserving in his ethnolinguistics.

The assumption behind this worldview was that each nation was as powerful as its patron god.

Scientific discoveries, such as the theory of relativity and quantum physics, drastically changed the worldview of scientists, causing them to realize that the universe was fantastically more complex than previously believed, and dashing the strong hopes at the end of the 19th century that the last few details of scientific knowledge were about to be filled in.

Among the film's strongest detractors was Jonathan Rosenbaum, who described it as " creepy " and claimed " this characterless world of Manhattan-Venice-Paris, where love consists only of self-validation, and political convictions of any kind are attributable to either hypocrisy or a brain condition, the me-first nihilism of Allen's frightened worldview is finally given full exposure, and it's a grisly thing to behold.

Both were Oxford men who knew the system inside out, and the close collaboration with which they worked was a function of their shared background and worldview.

Although the LPF was established post-9 / 11, Fortuyn had already developed a worldview based on the " clash between civilizations ", namely between " modernity " and Islam, or Western society and Islamic culture.

State propaganda initially used the appeal of scientific rationalism to argue that Falun Gong's worldview was in " complete opposition to science " and communism.

" A polarized depiction was created where the scientific worldview represented by Marxist-Leninism was legitimized as " moral and truthful ," while the Falun Gong discourse was " evil and deceptive.