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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...

Antoine Joseph Wiertz

Born in Dinant from a relatively poor family, he entered the Antwerp art academy in 1820. Thanks to his protector Pierre-Joseph de Paul de Maibe, a member of the Second Chamber of the States-General, king William I of the Netherlands awarded an annual stipend to Wiertz from 1821 onwards. Between November 1829 and May 1832, he stayed in Paris, where he studied the old masters at the Louvre. In 1828, Wiertz took part in the Grand Concours, also known as Concours de Rome, but came out only second. He landed the prestigious Prix de Rome only at his second attempt in 1832, which enabled him to go to Rome, where he resided from May 1834 until February 1837. Upon his return, he established himself in Liège with his mother.

During his stay in Rome, Wiertz worked on his first great work, Les Grecs et les Troyens se disputant le corps de Patrocle ("Greeks and Trojans fighting for the body of Patrocles", finished in 1836), on a subject borrowed from canto XVII of Homer's Iliad. It was exhibited in Antwerp in 1837, where it met with some success. Wiertz submitted the work for the Paris Salon of 1838, but it arrived too late and was refused.

At the Paris Salon of 1839, Wiertz showed not only his Patrocles, but also three other works: Madame Laetitia Bonaparte sur son lit de mort ("Madame Laetitia Bonaparte on her deathbed"), La Fable des trois souhaits—Insatiabilité humaine ("The fable of the three wishes—Human insatiability") and Le Christ au tombeau ("Christ entombed"). Badly hung and lit, his entry elicited indifference on the part of the public, and provoked sarcasm among the critics. This second humiliation led to a profound rancour against art critics and against Paris, as expressed in his virulent pamphlet Bruxelles capitale, Paris province. Oil on canvas, 1847 Dissatisfied with the shiny effect of oil painting, he developed a new technique combining the smoothness of oil painting with the speed of execution and the dullness of painting in fresco. This technique of mat painting entailed the use of a mixture of colours, turpentine and petrol on holland. La Lutte homérique ("The Homeric struggle", 1853) was the first big-scale painting executed in this technique. However, the components used in this technique are responsible for the slow decay of the works produced with it.

Many of his works from the 1850s have a social of philosophical message, often translated in delirious imagery, like Faim, Folie et Crime ("Hunger, Madness and Crime", 1853), La Liseuse de Romans ("The Reader of Novels", 1853), Le Suicide ("The Suicide", 1854), L'Inhumation précipitée ("The premature burial", 1854), Le Dernier Canon ("The last gun", 1855).
Wiertz was also a fine portrait painter, who made self-portraits at various ages. As a sculptor, he produced his most important project towards the end of his life: a series of plasters representing Les Quatre Âges de l'Humanité ("The Four Ages of Humanity", 1860–1862), reproduced in marble for the Wiertz museum by Auguste Franck.

After difficult negotiations with the Belgian government, Wiertz was able to realize his dream to turn his last studio into a museum for his works. The Belgian State bought a piece of land and funded the construction of a huge hall to accommodate the painter's monumental works. In exchange, Wiertz donated all his works to the Belgian State, with the express proviso that they should remain in his studio both during and after his lifetime. Wiertz died in his studio. His remains were embalmed in accordance with Ancient Egyptian burial rites and buried in a vault in the municipal cemetery of Ixelles. Influenced mainly by Rubens and the late Michelangelo, Wiertz' monumental painting often moves between classical academism and lurid romanticism, between the grandiose and the ridiculous. Although his work was often derided as art pompier, his pictorial language nevertheless preannounced symbolism and a certain kind of surrealism, two currents that would be very strong in Belgian painting.

A copy of one of Antoine Wiertz's works, the statue of The Triumph of Light was once prominently located high on San Francisco's Mount Olympus between the Haight-Ashbury and Corona Heights. It had been presented to the city of San Francisco by Adolph Sutro in 1887. Over the years due to lack of care and maintenance the statue fell into disrepair. By the late 1930s, even the history and origins of the statue were no longer common knowledge in San Francisco, and by the mid 1950s, the statue disappeared. All that remains today is the pedestal and base of the monument.

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