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Fire & Fantasy

Fire & Fantasy

September 8, 2017

Heavy Music Artwork 6th installation: Fire & Fantasy is centred around the concept of fantasy, imagination and escapism. No other...

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Avant-Garde

Avant-Garde

May 26, 2017

Heavy Music Artwork launches world’s first and only metal and rock art magazine - Issue 5 pre-sell: Avant-GardeFeaturing: Ulver, Sun O)))...

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Legacy

Legacy

March 10, 2017

The aging process affects pretty much everything in one way or another; but it may also lead to things being...

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Human

Human

January 20, 2017

The third issue of Heavy Music Artwork is an introspective outlook on music and art. Rock and metal have a...

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Folklore

Folklore

October 20, 2016

The second installment of Heavy Music Artwork is dedicated to Folk Art. Often referred to as ‘folklore’, it depicts the...

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Dark Nouveau

Dark Nouveau

July 20, 2016

The first issue is finally out and we feel inspired, happy and accomplished that we; the metal community; have a...

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Maciej Kamuda

Maciej Kamuda

July 5, 2017

The art of being yourself Most of all I'm self-taught. I...

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Cosimo Miorelli

Cosimo Miorelli

July 1, 2017

Man at work Like most people, I always drew as a...

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Rainer Kalwitz

Rainer Kalwitz

June 28, 2017

Phantastic Realism I had studied graphic arts at the university of...

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Lukasz Wodynski

Lukasz Wodynski

June 20, 2017

Living beings I graduated The School Of Fine Arts in my...

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Max Martelli

Max Martelli

June 14, 2017

Passion for Science Fiction Ever since I was young I was...

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Christian Sloan Hall

Christian Sloan Hall

June 8, 2017

The power of perseverance I was born in Santa Monica, California...

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Mike D from Killswitch Engage

Mike D from Killswitch Engage

May 31, 2017

DarkIcon studio profile All of Killswitch Engage's album artwork and tour...

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Ocvlta Designs by Surtsey

Ocvlta Designs by Surtsey

May 25, 2017

The demons and the good side I studied graphic arts in...

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Metastazis & Au Dessus: End of Chapter (Les Acteurs de l'Ombre)

Metastazis & Au Dessus: End of Chapter (Les Acteurs de l'Ombre)

July 21, 2017

There were no specific directions, the band gave me total freedom to provide my interpretation of the title. I interpreted 'End of a chapter' as plain death. And I wanted...

Robert Schober aka Roboshobo & Ghost: Cirice (Universal)

Robert Schober aka Roboshobo & Ghost: Cirice (Universal)

July 14, 2017

‘Cirice’ concept was inspirited by Brian De Palma film ‘Carrie’. The idea originated with Papa himself. He wanted to set the video in a school and do a talent show...

Napalm Death & Frode Sylthe: Apex Predator, Easy Meat (Century Media)

Napalm Death & Frode Sylthe: Apex Predator, Easy Meat (Century Media)

July 7, 2017

The band have been very much involved in the process of making this album artwork. And they tend to have a lot of ideas in which direction it all should...

Nestor Avalos & Bloodbath: Grand Morbid Funeral (Peaceville Records)

Nestor Avalos & Bloodbath: Grand Morbid Funeral (Peaceville Records)

June 30, 2017

We started from the concept of the band and the name of the album 'Grand Morbid Funeral'. This was the determinant factor for the whole process 'a place of plague...

Sikth & Dan Mumford: Opacities (Peaceville Records)

Sikth & Dan Mumford: Opacities (Peaceville Records)

June 23, 2017

I have known most of the guys in SikTh for quite a long time, I grew up in Watford, the same town that SikTh came from, and was playing in...

Obituary & Andreas Marschall: Inked in Blood (Relapse Records)

Obituary & Andreas Marschall: Inked in Blood (Relapse Records)

June 16, 2017

The idea for ‘Inked in Blood’ was developed by the Tardy brothers and me, based on an early suggestion sketch, when the band decided to move visually in a different...

Michael Berberian from E-Kunst

Michael Berberian from E-Kunst

June 9, 2017

The art of E-Kunst Mostly known as the founder of the record label Season of Mist, Michael S. Berberian has been using metal festival for years as an alibi to visit...

Camden Rocks Festival

Camden Rocks Festival

May 12, 2017

Camden Rocks Festival, established in 2009, is an exclusive festival held in London’s notorious Camden Town bringing you the best selection of rock, indie, metal and alternative music. Camden has...

DOWNLOAD FESTIVAL 2017

DOWNLOAD FESTIVAL 2017

April 24, 2017

Donnington, 9-11th June 2017 With a little over one month left to go for this year’s Download Festival, we are starting to get super excited about one of the best metal...

Pallbearer: The artwork of 'Heartless'

Pallbearer: The artwork of 'Heartless'

March 19, 2017

Initially formed in 2008, Pallbearer grew from the fertile underground metal scene of Little Rock, Arkansas - releasing their debut full length ‘Sorrow and Extinction’ in early 2012. The record...

Gustave Moreau

Although threatened by the fleeting truths of modern experience that artists like Manet, Degas, or Monet elected to paint, classical mythology, like a proper education in Greek and Latin, remained a cornerstone of nineteenth-century art and culture, propagated by the academies and illustrated in countless official paintings. It was also subject to intensely personal, even perverse interpretations that could use ancient legends to trigger voyages during which the cold marble facts of ancient sculpture, venerated and slavishly copied in the art schools, would evaporate into the strangest mists. So it was with Gustave Moreau's odd visions of antiquity, opium dreams of his own invention. His Orpheus of 1865, when shown at the Salon the following year, needed the artist's own verbal explanation in the catalogue to clarify his deviation from more orthodox depictions of the legend. The inventor of music so beautiful it could charm man and beast, Orpheus had met a gruesome end when he was torn to pieces by the enraged women of Thrace (whose love he had rejected), his head and lyre thrown into a stream. This ferocious group murder could, in fact, be seen at the same Salon of 1866 in a painting by Emile Levy. But Moreau imagined instead a later moment of erotic contemplation rather than one of overt physical violence, conjuring up a "young girl who reverently recovers Orpheus's head and lyre." In Moreau's painting, this Thracian maiden now stares as if hypnotized by her strange captive, a disembodied head fused with the musical instrument he played as he sang. Seen through a misty scrim of twilight tones, this morbid vision wafts us off to what the dean of Surrealism, Andre Breton, would later admire as a "somnambulistic world."

Indeed, Moreau might well be credited as a pioneer in the opening of hazy, disquieting vistas that could begin to plumb the depths of that subconscious fantasy life so prominent in the art and thought of the twentieth century. Supported by a study of Leonardo's otherworldly landscapes of distant waters and strange, almost translucent grottoes, Moreau invented a magical environment where we are not surprised to find bizarre shifts in size (the piping shepherds on the rocks above) or even a pair of what look like prehistoric tortoises in the right foreground, probably an allusion to the myth that their shells were used in the invention of the lyre.

Though partly prophesied by Chasseriau and partly shared by such contemporaries as Burne-Jones and Puvis de Chavannes, Moreau's floating world of cultivated inward sensation and fantasy was remarkably precocious, a voice in the wilderness that announced the more concerted explorations of morbid, inward reverie found in the Symbolist domain of the 1890s. By the end of the century, a vast international repertory of drugged silence, introspective mythmaking, decapitated heads, and demonic women could trace its ancestry back to Moreau's first hallucinatory paintings of the 1860s.

From: Robert Rosenblum, "Paintings in the Musee D'orsay"

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