Raymond Jonson and Emil Bisttram

Created in 1954, Quetzaquetz is an oil on canvas painting by Emil Bisttram that exemplifies his shift from realism to "transcendental" abstraction. The work is a vibrant blend of biomorphic forms and spiritual symbolism, deeply influenced by the artist's interest in theosophy and the "Dynamic Symmetry" theory of harmonious proportions. 

The painting features a warm, glowing background of red, orange, and gold tones, creating a luminous space that feels otherworldly. 

Central to the composition are dark, calligraphic shapes that resemble stylized eyes, figures, or mythical entities. Typical of Bisttram's "non-objective" period, the work includes geometric motifs like circles and orbs, which often represent celestial bodies or "planetary forces". A prominent yellow disc with a central point floats near the top, possibly acting as a "spiritual eye" or sun. And the soft, feathered edges of the forms suggest a sense of movement and "enclosed rhythms," a theme Bisttram explored frequently during the 1950s. 

The title "Quetzaquetz" likely draws inspiration from Quetzalcoatl, the Mesoamerican deity. This aligns with Bisttram’s fascination with "spiritual universality" and his tendency to blend Native American and Mexican cultural motifs with modern abstraction.

As a co-founder of the Transcendental Painting Group, Bisttram intended works like this to move beyond the physical world and stimulate "profound levels of thought and intuition". Through Quetzaquetz, he sought to reconcile science and religion into a single, "life-affirming" harmonious vision.

‍Polymer No. 28, painted in 1971, is a quintessential example of Raymond Jonson's late-career "absolute painting". While it shares the core spiritual mission of the Transcendental Painting Group (TPG)—using abstraction to manifest a "Godlike spirit" and universal harmony—it reflects a distinct technical evolution away from the more biomorphic, expressive style of his co-founder, Emil Bisttram. 

‍Unlike the visible, gestural brushwork often seen in earlier TPG works, this painting utilizes acrylic polymer paints and an airbrush technique that Jonson adopted to eliminate all traces of the artist's hand. 

‍ The use of the airbrush creates perfectly smooth, luminous color gradations that would be impossible with traditional brushes. And by 1971, Jonson worked exclusively in this medium, favoring a clean, machine-like finish that he felt better represented the "purity" of spiritual awareness. 

‍ While Bisttram’s Quetzaquetz, 1954, uses dark, calligraphic "living" forms, Jonson’s vision is defined by geometric austerity. 

‍ The composition features bold, vertical bands of saturated purple, red, and blue, contrasted against stark, hard-edged white orbs. The "vividly saturated geometric forms" often create an optical depth, making the flat canvas feel like a vast, "monumental" cosmic environment.

‍Despite the mechanical technique, the painting maintains the TPG's focus on "dynamic order" and "rhythms," which Jonson believed revealed the hidden spiritual structures of reality. 

Throughout his later years, Jonson’s work moved toward this extreme simplicity. As highlighted by the UNM Art Museum, his shift to acrylics allowed him to focus entirely on the "configuration of colors and shapes" rather than the physical act of painting.

Together, Jonson and Bisttram defined the TPG’s mission: using abstract geometry not as an end in itself, but as a bridge to a higher state of consciousness. Their partnership proved that math and mysticism could coexist on a single canvas.

For collectors and researchers, learn more from Addison Rowe Gallery, the exclusive representative of the Raymond Jonson estate, by visiting the website, Addison Rowe Gallery.