The Philosopher of the Brush
Writings & Worldview
Johfra Bosschart was not merely a painter of fantastic scenes; he was a scholar of the esoteric, a meticulous diarist, and a philosopher who traversed the rigorous paths of Gnosticism before arriving at a liberated Pantheism. His visual language was the result of a lifelong intellectual struggle to reconcile the spiritual with the material—a journey documented in nearly 6,000 pages of private journals.
The Great Work: The Diaries (1938–1998)
Perhaps Johfra's most significant non-visual legacy is his monumental diary. Begun on September 24, 1938, when he was just an art student, this practice continued until days before his death in 1998.
The diaries encompass 20 volumes and approximately 6,000 pages. They are not merely a record of events, but a laboratory of the soul where Johfra analyzed his dreams, dissected his psychological complexes, and drafted the symbolic architecture of his paintings.
"Describing life in a diary can be an important aid to live more intense, to absorb completely in the moment and to assimilate it till the end. Describing our experience is like reviving it. In this way we can live twice."
Phase I: The Gnostic Path (1953–1962)
In 1953, Johfra and his first wife, Diana Vandenberg, joined the Lectorium Rosicrucianum in Haarlem. This modern Gnostic spiritual school, led by Jan van Rijckenborgh, deeply influenced his early mature period.
The Doctrine of Transfiguration
The Lectorium taught the doctrine of "Transfiguration"—the idea that the "old man" (the biological, ego-driven personality) must be systematically dismantled to allow the "new man" (the divine spark) to emerge. Johfra’s art during this period became didactic, serving as visual liturgy for the brotherhood. He designed temples, statues, and illustrations for key texts like The Alchemical Wedding of Christian Rosycross.
Key Works of this Period:
- De Strijd Tussen Goed en Kwaad (The Battle Between Good and Evil), 1961.
- De Apocalyptische Vrouw en het Beest (The Apocalyptic Woman and the Beast), 1961.
The Schism
By the early 1960s, Johfra began to feel suffocated by the world-denying nature of Gnostic dualism, which viewed the material world as a "natural death" to be escaped. His growing love for Ellen Lórien and the natural world clashed with the brotherhood's asceticism, leading to his departure in 1962.
Phase II: The Pantheistic Turn (1962–1998)
Upon moving to France with Ellen Lórien—first to the rugged Alps of Aspremont and later to the lush Dordogne—Johfra’s philosophy shifted radically. He abandoned the Gnostic rejection of matter in favor of Pantheism: the belief that the Divine is immanent in all nature.
He began to worship the "Great Mother" (Nature) rather than an abstract, distant God. His studio at Moulin de Peuch became a sanctuary filled with skeletons, driftwood, and crystals, reflecting a deep reverence for the biological cycles of life and death.
The Manifesto of Nature
This shift culminated in the monumental triptych The Adoration of Pan (1979). Unlike his earlier hermetic works that sought "The One" (unity above), this work celebrated "The All"—the chaotic, beautiful, and sometimes terrifying diversity of the natural world.
On Symbolism & Myth
Johfra rejected the label of "fantasy artist." Instead, he viewed his work as a scientific application of psychology and magic. He believed that symbols were the only language capable of bridging the conscious and unconscious minds.
"The deepest truths can only be approached through myths and symbols. They cannot even be conveyed through exegesis or philosophical treatise... A truly universal archetypal symbol works deep down; it touches the unconscious essence of the individual who thereby recognizes it from inside."
The Dalí Encounter (1959)
Johfra’s relationship with Surrealism was complex. While he acknowledged Salvador Dalí as a technical master, their meeting in Port Lligat in 1959 left Johfra disillusioned. He saw Dalí as a tragic prisoner of his own eccentricity—a "jester" trapped by vanity.
"I found him repulsive and sympathetic and tragic... What I totally missed was every trace of joy and humor."
In contrast, Johfra adopted Leonardo da Vinci as his "spiritual father," admiring the Renaissance master's balance of scientific observation and artistic mystery, devoid of the theatrical hysteria that defined the Surrealist movement.
The Maldoror Crisis
In 1978, Johfra accepted a commission to illustrate Les Chants de Maldoror by the Comte de Lautréamont. Johfra considered Lautréamont, not Breton, the true inventor of Surrealism. However, immersing himself in the book's "satanic" and grotesque imagery was a psychological ordeal. He initially refused the commission for reasons of "mental hygiene" but eventually completed it as an exercise in confronting the Shadow—a Jungian concept he knew well.
Bibliography
Johfra wrote several texts that serve as keys to understanding his visual work:
- ❧ Symphonie Fantastique (1998)
His posthumously published autobiography, finalized just days before his death.
- ❧ Astrologie: De tekens van de dierenriem (1981)
A detailed explanation of the symbolism in his Zodiac series.
- ❧ Schetsboek van Johfra (1978)
A collection of sketches accompanied by his reflections on form and structure.
- ❧ Johfra en de Zodiac (1975)
Written by Hein Steehouwer, but featuring extensive input from Johfra on the Zodiac series.