Raymond Jonson and Emil Bisttram

May - June 2026

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Co-founders of the Transcendental Painting Group (1938), Raymond Jonson and Emil Bisttram used geometry as a bridge to higher consciousness. While Jonson pursued ethereal "vibrations," Bisttram relied on mathematical rigor.

Jonson’s "absolute painting" focused on rhythmic movement and light. He used airbrush to create glowing, vaporous transitions. By layering transparency and softening edges, he creates a suggested a non-objective, atmospheric energy. The shapes are not static objects, but pure vibrations of light freed from the physical world.

Bisttram’s style, however, is architectural and calculated, rooted in the Golden Mean. His technique is grounded in Dynamic Symmetry, using precise mathematical armatures and believing specific geometric proportions unlocked divine harmony and natural order.

In comparing two of their paintings, Quetzaquetz vs. Polymer No. 28, 1971, we observe the following differences and similarities between the two artists:

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.