Ernst Fuchs, one of the founders of the Vienna School of Fantastic Realism in 1946, and a big influence on a later generation of artists such as HR Giger and Robert Venosa.
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• The fantastic art archive
Category: {fantasy}
Fantasy
The art of Jean-Marie Poumeyrol
L’abattoir.
From ‘Visionary Art in France’, The Visionary Review, Fall 2004:
Poumeyrol shares with Margotton a fascination for the interior landscape, where dimly illuminated grottos resonate with the remains of past epochs. And yet, his barren and abandoned spaces are often redolent with signs of the artists’ own lost memories.
In his early works, Jean-Marie Poumeyrol was recognized as a master of erotica, combining hallucinogenic and macabre imagery in an unparalleled manner. But, in his maturity, the artist has displayed a marked fascination for landscapes, particularly the enclosed spaces of sewers, industrial waste and disposal plants. Yet, the amazing accuracy and finesse of rendering which enlivened his early works has not left him and, if anything, only increased with age.
The art of Jean-Pierre Ugarte
Elsewhere on { feuilleton }
• The fantastic art archive
City of Saints and Madmen
Jeff VanderMeer’s wonderful and award-winning fantasy tales of the sinister city of Ambergris are now back in print in the US from a major publisher. This is good to see, not only because the book is well worth your attention but also because I helped design the interior, providing title pages for the stories and designing and illustrating the whole of the ‘King Squid’ section. Fantasy is a meagre description for this book, it’s far more inventive and intelligent than the mass of works that labour under that description in the shops. Ditch your doorstop dragon sagas and give yourself a treat!
The Picture of Dorian Gray II
Oscar Wilde’s novel was filmed by Albert Lewin in 1945, a great adaptation with Hurd Hatfield playing Dorian, George Sanders as the aphoristic Lord Henry and Angela Lansbury as Sybil Vane. Lewin made a number of respectably arty films during the Forties and Fifties but Dorian Gray has always seemed the best to me, even if I am biased towards the story.
The film was shot in black and white but views of the painting were shown in colour. For the final view of Dorian’s decayed portrait he commissioned the hyper-real artist Ivan Albright (1897–1983) whose shockingly grotesque picture (below) provides a memorable climax to the film. That painting now resides in the Art Institute of Chicago.
Update: added a “before” view of the painting.
Update 2: added a link to a recent Wikipedia copy of the “after” picture that’s larger than previously available versions.
Elsewhere on { feuilleton }
• The Oscar Wilde archive