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Tarot coleccion Sacred Rose - Johanna Gargiulo-Sherman (EN) (USG) (1982)
Ref. ID0398-S
45,45 €
Precio sin IVA
Stock Disponible: 41 Uds.
Deck by Johanna Gargiulo-Sherman was published by U.S. Games Systems in 1982
73.66 x 127 x 30.48mm | 408.23g
Anybody who is looking for something different will be sure to find it with this one.
According to the booklet, the artist’s goal is to "enable viewers to envision the obvious fragmentation of their existence, to recognize and foresee their own inner strengths and, despite the ever-present obstacles that arise in life, to transcend earthly existence." This statement seems at odds with the visual impact of the deck, which has many images that are quite disturbing, and some that are downright frightening.
The artist is a master colorist, and the deck truly excels at color. The colors used are mostly dark and vivid reds, purples, oranges, blues and greens. There are no light, pale colors in this deck, only dark ones, giving it a dreamlike, hallucinatory quality that really pulls you in.
Most of the scenes take place in woodland, and the cards are densely packed with trees, foliage, and flowers. There is a crowded, claustrophobic feeling to every card in the deck. There is a great deal of energy and drama in each card, and an intensity which is rarely found in other decks. I think this deck lends itself to being used for reading simply by the nature of the intense colors and dramatic scenes.
Although the use of color is truly masterful, for me the deck falls short in its draftsmanship. Many cards, like Strength or the Star, have an amateurish look about them. In some cards it’s difficult to make out what is going on, such as the 7 of Pentacles, where I had to rely on the booklet to find out that the figure was sowing seeds. Although one might also complain about the draftsmanship in the Waite-Smith deck, at least in that deck there is never any doubt about what is happening.
Sherman displays some lack of expertise in anatomy, for instance in the 7 of Swords, where the figure’s outstretched fingers are all the same length. Also, the artist seems to not enjoy drawing eyes. Except for a huge Sphinx which (characteristically for this deck) towers threateningly over the Wheel of Fortune, the figures on most of the cards have their eyes closed, although on many cards it’s impossible to tell whether the eyes are closed or simply blank, i.e. all white with no iris or pupil. Needless to say, this makes for a very disturbing effect.
Every time I look through this deck I am struck by the disturbing and scary aspects. The Hermit, almost always pictured as a kindly dispenser of wisdom, in this deck has blank eyes which stare out from a dead-looking face. In the Wheel of Fortune, the demons from the Waite-Smith Wheel have grown large and menacing and seem to be controlling the wheel’s turning, while the aforementioned Sphinx glares malevolently at the viewer. In Judgment the angel, who has completely taken over the card, holds the trumpet directly over the child, and seems about to either suck the child up through the trumpet or else to be preparing to blast the child out of existence, while its parents beg for mercy in the background. (These are my interpretations, not Sherman’s.) In the Lovers the man dominates the two women and seems to be holding them captive, while the angel, blindfolded, smiles up at the sky, unaware of the scene being enacted below in his name.
The Minors are more abstract. They have scenes somewhat similar to the Waite deck, but the suit symbols are emphasized and the figures often float against a starry background. There are plenty of disturbing images here, too. In the 10 of Wands, nine wands entrap a figure lying on the ground, while the tenth wand hovers over his chest, "ready to leave its mark," ac
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