1. Magazine
  2. Art & Design
  • 1
  • 2
Prev Next
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...

Read more
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)))...

Read more
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...

Read more
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...

Read more
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...

Read more
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...

Read more
  • 1
  • 2
Prev Next
Sam Shearon

Sam Shearon

September 19, 2017

Sam Shearon talks with Heavy Music Artwork Sam Shearon Aka ‘Mister-Sam’...

Read more
Maciej Kamuda

Maciej Kamuda

July 5, 2017

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

Read more
Cosimo Miorelli

Cosimo Miorelli

July 1, 2017

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

Read more
Rainer Kalwitz

Rainer Kalwitz

June 28, 2017

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

Read more
Lukasz Wodynski

Lukasz Wodynski

June 20, 2017

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

Read more
Max Martelli

Max Martelli

June 14, 2017

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

Read more
Christian Sloan Hall

Christian Sloan Hall

June 8, 2017

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

Read more
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...

Read more

Columns

  • 1
  • 2
Prev Next
Top 10 Films that changed my life by Luca Aldisio of Heartache

Top 10 Films that changed my life by Luca Aldisio of Heartache

November 6, 2017

Progressive rock, metal, atmosphere and skill are fused with almost pop music flavoured melodies in what becomes the perfect marriage of inspiration and history of the great progressive and rock...

Top 10 albums that changed my life by David Miranda of Nostoc

Top 10 albums that changed my life by David Miranda of Nostoc

October 30, 2017

Costa Rican band Nostoc was founded in 2010 by Freddy L. and Ariel J. They were looking to create groovy music that would be groundbreaking and unique. They soon found...

Top 10 Albums by Tonight We Stand

Top 10 Albums by Tonight We Stand

October 23, 2017

"Tonight We Stand is a 5-piece melodic-metalcore act from Venice, Italy. Each member of the band comes from different musical influences, ranging from Avenged Sevenfold to Trivium. In this way...

Top 10's by Black Charm of Obscura Amentia

Top 10's by Black Charm of Obscura Amentia

October 16, 2017

The Italian studio-band is formed with the initial intention to create Black Metal songs, tending to be Raw and Atmospheric but with a latent tendency to melancholy and to the...

Top 10’s by Gustavo Acosta of Feanor

Top 10’s by Gustavo Acosta of Feanor

October 9, 2017

FEANOR was formed in early July 1996, debuting live at the Marquee on November 26, 1998. After numerous concerts in Argentina, the band entered to the studio for the recording...

Top 10 Albums that changed my life by Drew Zaragoza of Sinicle

Top 10 Albums that changed my life by Drew Zaragoza of Sinicle

August 25, 2017

Drew Zaragoza is the front man for LA Power Trio Sinicle. He has led the band for over a decade. Los Angeles power trio Sinicle combine the groove of Heavy...

Top 10 Bands that inspired my music by Drew Rizzo of Midnite Hellion

Top 10 Bands that inspired my music by Drew Rizzo of Midnite Hellion

August 22, 2017

Drew Rizzo is the drummer and founder of Trenton, NJ’s own MIDNITE HELLION, a US Heavy Metal band formed in 2011.  He eats, breathes, and sleeps Heavy Metal, and here’s...

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...

John Everett Millais

"Born into an affluent middle class family in Southampton, Millais was a naturally talented artist with an engaging, unspoiled personality. He became the youngest pupil ever at the R.A. Schools when he arrived there aged 11, and the youngest to complete the course five years later. Technically he was extremely competent and was the star pupil, but he was criticized for lacking a certain breadth of imagination and vision, which is ironic given his future as a Pre-Raphaelite.

"For the Summer Exhibition of the R.A. in 1849 he painted Isabella, a story of passion, jealousy and murder from a poem by Keats after a story by Boccaccio. Millais depicted all these elements in Italianate style with intricate symbolic metaphors worked through both colors and objects: the passion flower hints at Isabella's true nature, while the blood orange she holds shows her passion will end in spilt blood, and a hawk ripping a white feather to pieces indicates the cruel nature of her two brothers, who go on to murder her lover. The work was generally well received, particularly for its early Renaissance quality of composition, colorings and slightly flat perspective.

"The following year Millais painted himself into the furore that surrounded his picture Christ in the Carpenter's Shop. He lost a lot of the kudos he had gained previously as the Academy's most gifted pupil and aroused public doubts about his personal religious leanings. His other paintings of the time took themes from William Shakespeare; in Ferdinand Lured by Ariel, Millais tried his first major painting out of doors. Painted on a pure white ground the colors sing out in true Pre-Raphaelite fashion. The painting went to the B.A. in April 1850 where it was bought for £50.

"The other Shakespearean painting, which excited him more in concept, was Ophelia, one of the greatest Pre-Raphaelite works of all. This shows Ophelia floating down the river into which she has cast herself, feeling rejected by Hamlet. Her hair fans out in the stream, a necklace of violets around her neck and a loose bouquet of many different flowers drifting away from her slightly raised hands. All of these in Victorian flower lore contain meaning or are mentioned by Shakespeare in Hamlet. The plants on the riverbank show a typical selection of flowers and plants from an English summer hedgerow, all painted in precise detail. After casting around for a suitable location for the painting, he finally chose a quiet spot on the Hogsmill River (a tributary of the Thames) at Ewell in Surrey. Much of the walk was painted outdoors on the riverbank, greatly to the annoyance of a pair of swans who disputed the territory and drove Millais to near distraction. For convenience he took lodgings at Surbiton Hill, a few miles away, with his friend Holman Hunt.

"For the 1851 R.A. Exhibition Millais produced three paintings, one of which, The Woodsman's Daughter, proved a great success and laid the foundations for his election to become an Associate of the Academy in November 1853, at age 24 the earliest possible age. Only Sir Thomas Lawrence was elected younger. He then exhibited The Huguenot, a work showing a Catholic girl and her Huguenot lover on the day of the St. Bartholomew's Day Massacre in Paris, at the R.A. Exhibition in 1852. Interestingly this religiously-themed picture was conceived at the same time at Worcester Park Farm that Holman Hunt was developing ideas for The Light of the World. It was clearly an anti-Catholic picture painted at a time when religious paranoia over the intentions of the Pope were rife in England. The painting further cleared any popish doubts lingering over his earlier work The Carpenter's Shop.

"In 1853 Millais was invited to join the Ruskins on holiday in Scotland, with the intention of painting two portraits, one of John Ruskin and another of his wife Effie, who had previously posed for him for The Order of Release. Millais stayed with them in the Trossacks for almost four months, in the course of which he painted the definitive picture of John Ruskin: he set him standing by a small but fast running stream with a background of interesting geological rocks and plants. The work took a long time as it was so meticulously painted, with pedantic attention to even the smallest details of Nature - in keeping, of course, with Ruskin's ideals. Soberly dressed in black, Ruskin holds his hat by his side and stares with a pensive but pleasant expression on his face. Had he any idea that at the same time the young artist was falling in love with his wife, and furthermore the feelings were reciprocated, Ruskin might well have canceled the project. In due course the Ruskins were to divorce.

"In the mid-1850s Millais's style began to change; he continued with the Pre-Raphaelite attention to detail but changed his theme to ill-fated lovers, which suited his public and also his private state of mind until he was able to claim Effie as his own: this he was able to do on July 3, 1855 after her scandalous divorce from Ruskin.

"That same year Millais decided to embark on a painting that was beautiful in its own right without any attempt to tell a story. His models were four young girls, all under 13 years of age, chosen for their youth and beauty. They were to be shown standing around a pile of gently smoldering autumn leaves which they had just collected from their garden. The painting, which became known as Autumn Leaves, was designed to evoke a mood and a feeling of the transience of life and beauty - all is doomed to eventual decay, even the greatest innocence and beauty is overwhelmed by the passage of time. The painting is considered to be Millais's masterpiece. He wanted the picture to awaken the deepest religious reflections with its solemn air and restrained coloring. The work was influenced personally by Alfred Lord Tennyson, one of whose works he was illustrating at the time, in particular by his poem The Princess. Autumn and dead leaves are favorite images of the poet.

"The painting was sold, sight unseen, for £700 before the R.A. Exhibition opened, to a collector from Bolton. He didn't like it and swapped it soon after with a Liverpool collector for three unremarkable paintings. The general feeling about the painting was that it was nice enough but what was it all about? Millais was anticipating the Impressionists and the public was not ready and the response was generally disappointing. So, he returned to his more accessible (and saleable) narratives of lovers, and as a result by 1856 Millais was the most successful painter in England. In testimony to this, the Academy Exhibitions of the mid to late 1850s are full of imitations of his work. In the 1860s Millais broadened out his style until it lost all resemblance to the work of the early Pre-Raphaelites.

"Having started out as a young firebrand, Millais became a stalwart establishment figure - even becoming a baronet always faithful to the dictates of the R.A. He regularly showed at Academy exhibitions and became so influential there that he was made President in 1896, the same year that he died."

From: "The Pre-Raphaelites", by Sandra Forty

Newsletter