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 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...

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...

Michael Wolgemut

Wolgemut trained with his father Valentin Wolgemut (who died in 1469 or 1470) and is thought to have been an assistant to Hans Pleydenwurff in Nuremberg. He worked with Gabriel Malesskircher in Munich early in 1471, leaving the city after unsuccessfully suing Malesskircher's daughter for breach of contract, claiming she had broken off their engagement. He then returned to his late father's workshop in Nuremberg, which his mother had maintained since Valentin's death. In 1472 he married Pleydenwurff's widow and took over his workshop; her son Wilhelm Pleydenwurff worked as an assistant, and from 1491 a partner, to Wolgemut. Some consider Wilhelm a finer artist than Wolgemut, however he died in January 1494, when he was probably still in his thirties. Wilhelm's oeuvre remains unclear, though works in various media have been attributed to him. The importance of Wolgemut as an artist rests not only on his own individual works, but also on the fact that he was the head of a large workshop, in which many different branches of the fine arts were carried on by a great number of pupil-assistants, including Albrecht Dürer, who completed an apprenticeship with him between 1486-9. In his atelier large altar-pieces and other sacred paintings were executed, and also elaborate carved painted wood retables, consisting of crowded subjects in high relief, richly decorated with gold and colour.

Wolgemut was a leader among the artists reviving the standards of German woodcut at this time, mostly supplying the many publishers in Nuremberg with book illustrations, of which the most attractive were also sold separately. His woodcuts followed the advances in engraving to depict volume and shading to a much greater extent than before. Nonetheless, they were very often hand-coloured before or after sale. His pupil Dürer was to build on and to so surpass his achievement that it is often overlooked. The making of Woodcuts was a large part of the work of the workshop, the blocks being cut from Wolgemut's designs, many of which are remarkable for their vigour and clever adaptation to the special necessities of the technique of woodcut. Most of the production was for book illustrations; Nuremberg was the main centre of German publishing at the time. Two large and copiously illustrated books have woodcuts supplied by Wolgemut and his stepson Wilhelm Pleydenwurff; both were printed and published by Germany's largest publisher, the Nuremberger Anton Koberger, who was also Dürer's godfather. The first is the Schatzbehalter der wahren Reichthumer des Heils (1491); the other is the Historia mundi, by Schedel (1493), usually known as the Nuremberg Chronicle, which is highly valued, not for the text, but for its remarkable collection of 1809 spirited illustrations.

Wolgemut and his stepson Wilhelm Pleydenwurff were first commissioned to provide the illustrations in 1487-1488, and a further contract of December 29, 1491 commissioned manuscript layouts of the text and illustrations. A further contact of 1492 stipulated that Koberger should provide a locked room for the blocks to be kept safely. A drawing by Wolgemut for the elaborate frontispiece, dated 1490, is in the British Museum. As with other books of the period, many of the woodcuts, showing towns, battles or kings were used more than once in the book, with the text labels merely changed. The book is large, with a double-page woodcut measuring about 342x500mm.

His paintings show Flemish influence, and he may have traveled within Flanders (modern Belgium and surrounding areas). The earliest known work by Wolgemut is a retable consisting of four panels, dated 1465, now in the Munich gallery, a decorative work of much beauty. In 1479 he painted the retable of the high altar in the church of St Mary at Zwickau, which still exists, receiving for it the large sum of 1400 gulden. One of his finest and largest works is the great retable painted for the church of the Augustinian friars at Nuremberg, now moved into the museum; it consists of a great many panels, with figures of locally venerated saints.

In 1501 Wolgemut was employed to decorate the town hall at Goslar with a large series of paintings; some on the ceiling are on panel, and others on the walls are painted thinly in tempera on canvas. As a portrait-painter he enjoyed much repute, and some of his works of this class are very admirable for their realistic vigour and minute finish. Outside Germany Wolgemut's paintings are scarce: the Royal Institution at Liverpool possesses two good examples--Pilate washing his Hands, and The Deposition from the Cross, parts probably of a large altar-piece. During the last ten years of his life Wohlgemut appears to have produced little by his own hand. One of his latest paintings is the retable at Schwabach, executed in 1508, the contract for which still exists. He died at Nuremberg in 1519

Covers

Newsletter