
Old Masters - New Visions & Nexus Muse LLC. Presents
The 29th Anniversary
International Mischtechnik Painting Retreat
‘Mischtechnik’, from the German means ‘Mixed Technique’. Developed by early Northern Renaissance masters such as Van Eyck and Robert Campin, this indirect painting process was revitalized by Pietro Anigonni of Florence 1930s-80s and the Austrian painter, Ernst Fuchs in Vienna beginning in the late 1940’s, early 50s. Aside from the many classical artists, the basic approach of the Mischtechnik has been most favored by painters of the Fantastic, the 'visionary artists' and those working with mystical subject matter, as the use of an underpainting in egg tempera or casein, and the layering glazes of resin oil color in the development of a painting can create exquisite effects of light, radiance, transparencies and rendering an expression of non-ordinary states of consciousness.
MYTH, MAGIC and MISCHTECHNIK
“No experience is necessary, you have all that you need.”
- Prof. Phil
DELPHI, GREECE
A 3-week Seminar in the Mxed Technique of Egg Tempera & Oil Painting
JUNE 7 –27, 2026
Philip Rubinov Jacobson, Instructor
Mantra Cora, Artist in Residence
LIMITED TO 15 PARTICIPANTS
![]() | ![]() | ![]() |
---|---|---|
![]() | ![]() | ![]() |
![]() | ![]() | ![]() |
![]() | ![]() | ![]() |
![]() | ![]() | ![]() |
![]() | ![]() | ![]() |
![]() | ![]() | ![]() |
![]() | ![]() | ![]() |
![]() | ![]() | ![]() |
![]() | ![]() | ![]() |
![]() | ![]() | ![]() |
![]() | ![]() | ![]() |
![]() | ![]() | ![]() |
![]() | ![]() | ![]() |
![]() | ![]() | ![]() |
![]() | ![]() | ![]() |
![]() | ![]() | ![]() |
![]() | ![]() | ![]() |
![]() | ![]() |
Join us for a transformative painting retreat in Delphi, Greece —a rare opportunity to deepen your creative practice through the timeless techniques of the Northern Renaissance, guided by Prof. Philip Rubinov Jacobson and inspired artist-in-residence Mantra Cora, both protégés of the legendary Ernst Fuchs.
Set amidst the stunning landscapes and ancient history of Delphi, this immersive experience centers on the elegant Mischtechnik painting method. You’ll enjoy 24/7 studio access, personalized instruction tailored to your unique style and skill level, and a vibrant community of like-minded creatives.
Beyond the studio, bask in Mediterranean sunshine, swim in pristine waters, and explore sacred and historic sites like the Temple of Apollo, the Oracle of Delphi, and the Corycian Cave. Delight in nearby destinations including Arachova, Itea, Galaxidi, and Amfissa—each offering its own charm, culture, and natural beauty.
With just 15 spots available, this retreat ensures focused mentorship and an intimate learning environment. Join us for a journey that blends masterful instruction, soulful exploration, and the creative fire of Greece. Take a quantum leap in your art.
An interview with Mantra Cora & Philip Rubinov Jacobson on the importance of Art
This Retreat Offers:
-
An inspiring environment for artists of all levels to grow, explore, and create under the guidance of two master instructors.
-
Limited to 15 participants, ensuring a focused, residential experience with individualized instruction—first-come, first-served.
-
Beginners awaken their creative potential through hands-on guidance and supportive mentorship.
-
Experienced and professional artists rediscover their edge, gaining new momentum where mastery, myth, and mentorship converge.
-
Master Instruction from Philip Rubinov Jacobson and Mantra Cora, who honor each student’s unique creative path with personalized support.
-
Direct transmission of classical Mischtechnik techniques, paired with inspiration, experimentation, and intuitive refinement tailored to your vision.
-
24/7 Studio Access, allowing full immersion in your creative process.
-
A stunning location amidst ancient ruins and sunlit Mediterranean landscapes.
-
Cultural and mythic exploration of sacred sites such as the Temple of Apollo, the Oracle of Delphi, and the Corycian Cave.
-
Excursions to nearby coastal and mountain towns, including Itea, Galaxidi, and Arachova.
-
Shared meals and deep connection with a creative, like-minded community.
-
Opportunities to swim, relax, and absorb the natural beauty and vibrant culture of the region.
-
PDF handouts including step-by-step Mischtechnik instruction, notes on mediums, and a historical overview of the technique.


The King Iniohos Hotel
78 Ossiou Louka, Delphi 33054 Greece
Art Studio on Site
Registration & Accommodation Rates
Price includes Tuition, Private Room and Breakfast Buffet
The hotel, located in the northern part of the village of Delphi, offers its guests unique and refreshing views of the ancient town, the beauty of the Corinthian Gulf, and the untamed charm of Mount Parnassus. Its air-conditioned rooms blend traditional character with modern amenities, providing both privacy and comfort. A large on-site studio space further enhances the promise of an unforgettable stay. Prices for Single occupancy are much less this year, and double and triple room prices are dramatically reduced.
After meeting with our hosts in Delphi last summer, we're thrilled to offer this retreat at our most affordable rate ever.
Price includes 19 Days Tuition, Accommodation and Breakfast Buffet:
SINGLE PRIVATE ROOM: $2,095
DOUBLE ROOM Occupancy: $1,795 per person
TRIPLE ROOM Occupancy: $1,595 per person
DO YOU NEED A PAYMENT PLAN?
DEPOSIT $400
Secure your spot with a deposit today and pay your balance in payments, on/or before May 1, 2026. The total final payment will be 10% more than those who pay in full, but you benefit from an extended payment plan and flexibility. Contact Prof. Phil at pogey59@gmail.com or at (620) 617 9674
FOR PAYMENT GO TO: https://www.zellepay.com/
It is a free service and instantaneous. For information on how to enroll, send (and receive) funds go to the link above and make payment to account: eyepaint4u@yahoo.com
____________________________________________________________________________
Compare our prices to other Artist Retreats in Greece: https://bookretreats.com/s/other-retreats/artist-retreats/greece
_______________________
Optional One-Evening Cooking Class
_______________________
GREEK COOKING with Lydia Kaltsi
<kaltsilydia@gmail.com>
Star Chef at the Symposium Restaurant, Delphi, Greece Offers One-evening Cooking Class

50 Euro
or $53 US Dollars
Reserve your spot
and
Pay through Zelle
From Lydia
This will be an evening cooking class, and includes a dinner at our restaurant Symposium.
On which night the class will take place will be decided by the attendees and the teacher.
Price per person for all of the above is 50 € . ($53 )
It will include:
Welcome drink with fresh lemonade, mastiha liqueur & lemongrass.
Aprons and gloves for everyone
The lesson can start at around 18:00 or 19:00 pm and will finish in about an hour and 15min.
I am the main teacher and will be teaching participants on how to make tzatziki and cheese pies with homemade crust.
After that we cook the cheese pies and they try them as well as the tzatziki.\
At dinner time the menu will be:
Bread & Olives
Tzatziki
Spinach pie, and zucchini fritters for starters
Individual Seasonal salad
Main course: Imam eggplants with onions and fresh tomato (as the VEGETARIAN OPTION), or Giouvetsi Veal with small
Spaghettini and fresh Tomato Sauce cooked in a pot, or Kleftiko Chicken cooked with lemon potatoes-feta
cheese-peppers-tomato slices wrapped inside a paper\ Orange pie with yogurt sauce
Before the students leave I give them all the recipes (PRINTED), including the zucchini fritters, as well as a Certification of being Masters of Greek Cuisine.
Drinks are not included.
Special Lunches prepared by our kitchen on Request
If we are interested, the Symposium Restaurant can also arrange fixed menus for our group members at the price of 25 € per person for lunch in our restaurant.
This includes:
A starter salad, main course and fruit, or desert. The drinks are not included in the above price.
On Artistic Lineage, Vision, and Pedagogy:
Prof. Phil is a distinguished artist, author, and educator whose journey with Mischtechnik painting began in 1973 under Austrian master Ernst Fuchs. In 1997, Fuchs formally entrusted him with carrying forward the sacred lineage of visionary and fantastic art. Holding a B.S. in Studio Arts and Cultural Anthropology, an M.A. in Painting and Sculpture, and an M.F.A. in Painting and Printmaking, Prof. Phil’s work is grounded in classical European techniques—egg tempera, resin-oil, Tempera Grassa, Alla Prima, Grisaille, and Brunaille. He integrates these with contemporary, intuitive, and spiritually attuned methods in both his art and teaching.
In 2011, during a seminar in the Austrian Alps, Prof. Phil met Mantra Cora, a gifted Polish artist. After a time in England, they married in Las Vegas in 2016 and now reside in Kansas, where Mantra is a U.S. citizen. She holds a B.A. in Studio Art from the University of Salford and studied under both Prof. Phil and Ernst Fuchs at Vienna’s Palffy Palace. She also studied at the Accademia di Belle Arti di Macerata in Italy and is currently pursuing her M.F.A. in Painting, Ceramics, and Video Production at Fort Hays State University. Since 2012, Prof. Phil and Mantra have co-led international painting retreats. Mantra contributes with a focus on Creative & Innovative Grounds that foster automatic imagery and a serendipitous creative process. In 2016, she curated the major exhibition A Legacy of Light: A Homage to Ernst Fuchs at Castle Gloggnitz, Austria—coordinating 88 international artists, overseeing publication, publicity, and operations. In 2022, she joined the faculty at Barton Community College, where she teaches Portrait Drawing, Grisaille, and Watercolor Painting, while developing online curriculum. Her work has exhibited internationally across the USA, UK, Italy, Austria, Spain, Switzerland, Luxembourg, and Portugal. In 2026 Mantra's role in the OMNV seminars has shifted to "artist -in-residence".
Together, Prof. Phil and Mantra have led seminars and retreats across the U.S., Europe, Asia, and beyond—from focused 3-day workshops to immersive multi-week intensives. Their teaching blends Renaissance foundations with modern innovations—emphasizing Rorschach-like improvisation, meditative states, and visionary experience. Rather than imposing a formula, they guide students to discover their own visual language and spiritual voice. Their approach is both technical and transcendent—infused with an “inner light” that reflects the soul of the artist and serves as a mirror to the human spirit.
2026 Delphi Painting Seminar
Terms & Conditions
Payments & Refunds
A non-refundable $400 deposit is required to confirm registration. Without this, your spot is not guaranteed and may be given to another participant. The full balance is due by May 1, 2026. Late or missing payments may result in losing your place and deposit. Submission of the deposit signifies acceptance of these terms and forms a binding agreement with OMNV/NexusMuse, LLC.
Cancellations
OMNV/NexusMuse, LLC reserves the right to cancel the seminar due to low enrollment. In such cases, all payments will be refunded minus a 3% transaction fee. We are not responsible for travel or other expenses incurred, which may be covered by travel insurance—highly recommended.
Pricing & Accommodations
Tuition includes instructor fees, studio access, and shared materials (e.g., solvents, resins, mediums). This is a package program: all participants must stay in the designated accommodations to foster a unified creative community. Students are responsible for bringing their own materials as listed in the provided supply guide.
Liability
OMNV/NexusMuse, LLC is not liable for any personal injury, loss, damage, or inconvenience caused by structural or utility issues, travel mishaps, or events outside its control. Participants are responsible for any damage or harm they cause to people, property, or materials and may be held financially liable.
Community Conduct
All participants are entitled to a peaceful and respectful learning environment. Theft, harassment, or disruptive behavior—verbal, physical, or psychological—will result in immediate dismissal without a refund.
Force Majeure
No refunds will be issued if cancellation is due to uncontrollable events such as war, natural disasters, civil unrest, terrorism, or extreme weather.
Misadventure
We are not responsible for any accidents, illness, injuries, or loss of belongings during the seminar. Please ensure your personal safety and property are protected.
Insurance
Travel and health insurance are strongly recommended. It may cover flight delays or cancellations, theft, emergencies, and medical costs. It is the participant’s responsibility to secure proper coverage.
Passports & Visas
Most travelers do not require a visa for stays under 90 days. However, it is the participant’s responsibility to check with the Greek embassy and obtain all necessary documents. Failure to do so does not qualify as grounds for a refund.

Visionary Art

Visionary Art

Vsionary Art

Visionary Art
A Glimpse at paintings by members of the ''The New York Visionaries''. Just a few early and later works from the NY Group.
By Philip Rubinov Jacobson
© Updated May 30, 2018 / Revised July 29, 2025
On Contemporary Visionary Art: Origins, Meaning, and Movement
Visionary Art is not a new phenomenon. Throughout history, certain artists have woven visionary threads into the broader tapestry of art. A full account of the global visionary tradition could fill volumes—and many have attempted such definitions, often painting with too broad a brush.
To me, a truly visionary work is what I call creatuitive: a fusion of heightened creativity and acute intuition. It is a form of in-sight—a vision arising from the contemplative eye, the seat of spiritual imagination. Visionary Art transcends, yet includes, the physical world. It reveals an expanded awareness, often rooted in ecstatic or mystical states accessed through the deep, subjective realms of the individual. What unites visionary artists is their intensely personal and often unconventional psychic imagination. Their gift lies in rendering—“in minute particulars,” as Blake said—the infinite spectrum of consciousness and spirit, from shadow to light.
The term Visionary Art was first coined in 1933 by Carl Gustav Jung in Modern Man in Search of a Soul. He described it as a revelation—a vision of beauty or profundity that resists verbal expression, emerging not from surface psychology but from the deep archetypal reservoirs of the collective unconscious and the transcendent. Visionary works can astonish, disorient, disturb—or utterly uplift. Often misunderstood as inherently religious, visionary art is not bound to doctrine. I’ve witnessed profound works created by atheists and agnostics—those who describe themselves as “spiritual but not religious.” These artists access visionary states through meditation, mysticism, dreams, entheogens, or other altered states of consciousness, untethered from institutional religion.
Historically, before the 20th century, the terms religious and spiritual were nearly interchangeable. But with the rise of science, modern biblical scholarship, and cultural relativism, a shift occurred. Faith increasingly moved inward—into the private domains of experience, contemplation, and mysticism—while religion became more associated with public institutions, rituals, and creeds. Visionary Art reflects this shift: favoring personal insight, interior exploration, and universal archetypes over dogmatic narratives.
As a modern movement, 20th-century Visionary Art traces its lineage from Metaphysical Art and Surrealism through the Vienna School of Fantastic Realism. The artists emerging from this lineage—many of whom studied directly with Ernst Fuchs—developed wildly diverse styles and visions. In New York, the seeds of the contemporary Visionary Art movement took root over 45 years ago, nurtured by a small tribe of dedicated artists: Mati Klarwein, Brigid Marlin, De Es Schwertberger, myself, and others including Robert Venosa, Martina Hoffmann, H.R. Giger, Alex Grey, and Jose Arguelles. Most of us studied with Fuchs between 1964 and 1974, and though we were geographically scattered, we shared a common impulse: to express the ineffable, the numinous, and the inner worlds of transformation.
Brigid Marlin founded a group in England focused on imaginal painting, while on the West Coast, artists like Gage Taylor, Mark Henson, Cliff McReynolds, and Bill Martin explored cosmic forces, natural mysticism, and psychedelic states. Though separated by geography and style, we were united by a shared drive to reveal hidden realms. In the pre-internet era, discovering kindred spirits—like Johfra in Holland or Fabrizio Clerici in Italy—were rare, cherished moments that reminded us we were not alone in our visions.
Today, the landscape has grown exponentially. Thousands of artists worldwide now identify as visionary, many influenced by figures such as Alex Grey, Android Jones, and the late Robert Venosa. The festival circuit has become a primary platform for this art, where live painting and sacred commerce have replaced the Happenings and the free-admission countercultural gatherings of the ’60s and ’70s. Yet as the seeds grow into a global movement, I often pause to reflect: Where is this current headed? What is its true intention—and whom does it serve?
Since the early 1970s, we have wrestled with labels. Visionary has always carried a certain gravitas—perhaps even a touch of arrogance. We experimented with terms like transformative, transcendental, psi art, and integral art. Bruce Rimmel aptly remarked, “Visionary is an honorific—one you should never give yourself.” I agree. To me, it’s not a label—it’s a responsibility.
Today, the landscape has dramatically expanded. There are now thousands of artists around the world who identify as visionary, many influenced by figures such as Alex Grey, Android Jones, and the late Robert Venosa. The festival circuit has become a major platform for this art, where “live painting” and commerce have replaced the Happenings and countercultural gatherings of the 60s and 70s. Yet, while the seeds have grown into a global movement, I often pause to reflect: Where is this currently headed? What is its true intention—and whom does it serve?
Since the early 1970s, we have struggled with labels. “Visionary” has always carried a certain weight—perhaps even a touch of arrogance. We experimented with terms like transformative, transcendental, psi art, and integral art. Bruce Rimmel aptly remarked: “Visionary is an honorific—one you should never give yourself.” I agree. For me, it's not a label, but a responsibility.
Art, at its highest, opens the door to the inner life—our only true source of meaning and purpose. The artist, as a kind of modern mystic, renders the invisible visible, the intangible tangible. At its best, this work arises not just from imagination, but from creatuitive flow: a dynamic fusion of feeling, intellect, intuition, and spiritual insight. The integral artist reaches beyond the personal to touch the transpersonal—exploring neglected dimensions of being, pointing toward unity, and inspiring peace.
We invite you to join us—an international, inter-generational community of creators formed not by geography but by shared intention. We are a family in spirit: grounded in skill, ignited by intuition, and dedicated to awakening the power of the spiritual imagination.
For a more personal account of the formative years of so-called, Fantastic and Visionary Art, see my first book, DRINKING LIGHTNING ~ Art, Creativity and Transformation. Anyways, as stated above, a few of the students who first studied with Fuchs became teachers themselves. Brigid Marlin, an American Ex-pat residing in England, myself from the USA and teaching internationally, and Fuchs’s son Michael who would sometimes teach alongside me, with an assistant - a young American girl named Amanda Sage, in the late 1990s and early 2000's. Since 1978, I have taught hundreds of art students and some dynamic new lights have emerged in many genres of painting, including some visionary-types like Amanda Sage, Andrew Gonzalez, and other more fantastic-types like Daniel Martin Diaz, Kim Evans, Madeline Von Foerster, Benjamin Vierling, Lucy Hardie, Kris Kuksi, Mariu Suarez and Mantra Cora, to name just a few. Today, there are thousands upon thousands of ‘’visionary artists’’ all over the world who, for the most part, in contrast to the New York Visionaries and that generation of artists, often share a common imagery often inspired by experiences from sacred sacraments and plant medicines and a strong influence from the artwork of a few figureheads on the scene, like Alex Grey and Android Jonoraes Many of them enjoy a captive audience on the international alternative festival circuit doing ‘live painting" and selling their wares, which is quite a different environment than the concert-festival of 'free love and free everything else' of the Hippy Era. of the 1960's and early 70s. None the less, it is certainly gratifying to see the seeds that have grown worldwide, but I often wonder about the course 'visionary art' is taking, its direction, commercial intentions and to what and to whom it is really serving. Time will tell.

For Information on the Summer, 2026 Painting Retreat in Delphi. Greece *
CLICK the link below