Uploaded September 2019 | Updated September 2026, 1 week ago
Akiya Kageichi is a Japanese illustrator who calls himself Golden Gravel, a name which may refer to Japanese rock gardens. His sinister jesters, lazy rulers and clandestine warriors are set within scenes full of chaotic imagery. Astrological symbols, particularly moons, are heavily prominent, suggesting the mysterious forces of dark nights are at work. In a single plane, objects morph, creating dynamic and active scenes. Kageichi reveals hidden underworlds and secret futures, in which sorcery and witchcraft pull the strings and determine what happens in the real world.
[from: hifructose.com/2015/10/27/sinister-forces-are-at-work-in-akiya-kageichis-magical-worlds/]
Music: Robert Rich & Markus Reuter "We Will Walk Away Unscathed"
Akiya Kageichi is a Japanese illustrator who calls himself Golden Gravel, a name which may refer to Japanese rock gardens. His sinister jesters, lazy rulers and clandestine warriors are set within scenes full of chaotic imagery. Astrological symbols, particularly moons, are heavily prominent, suggesting the mysterious forces of dark nights are at work. In a single plane, objects morph, creating dynamic and active scenes. Kageichi reveals hidden underworlds and secret futures, in which sorcery and witchcraft pull the strings and determine what happens in the real world.
[from: hifructose.com/2015/10/27/sinister-forces-are-at-work-in-akiya-kageichis-magical-worlds/]
Music: Robert Rich & Markus Reuter "We Will Walk Away Unscathed"
![Shohei
Working mostly in ballpoint pen, Shohei Otomo’s insightful depictions of Japan expose its commercial facade and deepest underground culture. Delivered with an unmistakable level of biting political analysis and technical perfection, Shohei’s work straddles the worlds of art, illustration, anime and cyber-punk.
Since gaining online global recognition as one of Japans leading illustrators, Shohei has produced nearly a decades worth of exhibitions across Paris, Tokyo, Milan and Melbourne; worked on projects with such names as Google, Agnès B and Sony Playstation. By expanding his art practice into sculpture, Shohei has begun to solidify himself as an important figure in Japanese contemporary art.
[from: http://www.shoheiotomo.com/about]
Music: Serial Experiments Lain soundtrack Shohei](https://i.ytimg.com/vi/Jxq_KlnE56c/mqdefault.jpg)
![Ivan Fedorovich Choultsé
Throughout all his life Choultsé was a singer of nature in his art: he praised its lands, sky, moon, plants. But the most important elements, the true heroes of his paintings were undoubtedly snow and water. The artistic world of Choultsé is a world without people or animals. His preferred type of a landscape is a winter view, frequently not Russian but Swiss. He was called a magician of light because of an almost magic realism of his paintings. Toronto art dealer G. Blair Laing wrote in his book Memoirs of an Art Dealer, 1979:
He painted spectacular snow scenes in which the light seems to come from behind the canvas and glow. The critics scorned these pictures as photographic and called them non-art – but today this style of painting is called magic-realism and is much admired by critics and museum people.
He was born in Saint-Petersburg, Russia, into a family of German origin (Schultze — original spelling of his family name – had lived in Russia since the 17th century). His first education was in electrical engineering. At the same time he tried to paint landscapes. When he was already thirty years old, he showed his first essays to a famous painter and member of Russian Academy of fine arts Constantin Jakovlevich Kryzhitsky (1858) —1911), who then invited Choultsé to study art. Other significant influences were Russian painter Arkhip Ivanovich Kuindzhi (1841 —1910) and Swiss painter Alexander Calame (1810–1864).
Together with Kryzhitsky in 1910 Choultsé travelled to Spitzbergen, where he painted many Arctic landscapes (Datskiy and Medvezhiy islands, Saint Magdalenes bay of the Spitzbergen archipelago etc.).
After losing both of his teachers (Kuindzhi died in 1910 and Kryzhitsky committed suicide the year after) Choultsé begins to master his very own style of painting. Grand Duchess Olga Alexandrovna (1882–1960), being also a pupil of Kryzhitsly, founded a Society in the name of her late teacher and Choultsé frequently participated in its exhibitions, that took place in her palace on Sergeevskaya street, 46/48 (now Tchaikovskogo str.).
By 1916 Choultsé is already a widely famous artist, members of the Tsar family acquire his works (Nicholas IIs brother Michael Alexandrovich, Grand Duke Grigoriy Mikhailovich and others). The Tsar himself is not much interested: as Choultsé noted later, in emigration, Nicholas II displayed no interest in landscapes or still lives, as they told no story. Some works were bought by Сarl Fabergé (stated in his 1918s inventory). Post card development has greatly contributed to Choultsés success – printing of his works on those open letters made him famous throughout the country.
In mid-1930s Choultsé moves to Nice, France. The last reliable account of meeting him belongs to Alexander Iosifovich Gefter (1885–1956), a marinist painter, member of various underground antibolshevik organisations and mason. He saw Choultsé on March 7, 1936 during a meeting of Russian emigrants in Breton castle on rue Saint Antoine in Nice. His gravestone on Russian Orthodox Cemetery in Nice states 1939 as the year of his death.
Meanwhile, there were some exhibitions of his works held after his departure and even after his death in New York City (April 1936, April 1940 and May 1943) and Oklahoma City (May—June 1938).
Choultsés works are scarce in Russia, as Russian museums nowadays mostly lack his works, with rare exceptions of Saint Petersburg Arctic and Antarctic Museum and Dagestan Fine Arts Museum. His works can though be frequently found in American and Canadian collections (Hillwood Museum in Washington D.C., WSU Museum of Art (Washington State University), Indianapolis Museum of Art, Montreal Museum of Fine Arts). Many works are part of private collections.
[from Wikipedia]
Music: Slow Dancing Society And To The Dust We Shall Return Ivan Fedorovich Choultsé](https://i.ytimg.com/vi/JycNollVGy8/mqdefault.jpg)
![Dorothy Lathrop
Dorothy Pulis Lathrop (April 16, 1891 – December 30, 1980) was an American writer and illustrator of childrens books. She was born in Albany, New York. During a prolific career spanning from 1919 to 1967, she used her artistic skills as an illustrator of other authors’ childrens fictional literature: more than 38 books were published with her illustrations. Lathrop wrote and illustrated nine childrens books and several topical nonfiction books. She was also an accomplished printmaker. Much of her work was devoted to the beauty and importance of animals.
Lathrops career began around 1919, when her first published suite of illustrations appeared in Walter de la Mares book for children, The Three Mulla-Mulgars. Lathrop developed a friendship with de la Mare, and thereafter illustrated five more of his books for children: Down-Adown-Derry (1922), Crossings (1923), The Dutch Cheese (1931), Mr. Bumps and His Monkey (1942) and Bells and Grass (1942). In 1929, Lathrop illustrated Rachel Fields successful childrens novel, Hitty, Her First Hundred Years, the fictional story of a doll, which won the Newbery Medal, awarded by the American Library Association for the best childrens novel of the year. In 1931, Lathrop wrote The Fairy Circus, which was a runner-up for the Newbery Medal. In 1938, Lathrop’s illustrations for Animals of the Bible, written by Helen Dean Fish, won her the inaugural Caldecott Medal, awarded for the years most distinguished American picture book for children. Lathrop illustrated many other books, particularly fantasy and fairy tales such as W. H. Hudsons Little Boy Lost; Hans Christian Andersens The Little Mermaid; Hilda Conklings Silverhorn; George MacDonalds The Princess and Curdie and The Light Princess; Jean Ingelows Mopsa the Fairy and her self-authored The Lost Merry-Go-Round and The Colt from Moon Mountain.
She illustrated several collections of childrens poetry including work by Walter de la Mare and Sara Teasdales Stars To-night. In 1949 she was elected into the National Academy of Design as an Associate Academician.
[from Wikipedia]
Music: Alio Die Spring Music Dorothy Lathrop](https://i.ytimg.com/vi/KR3wlEV6b8c/mqdefault.jpg)
![Erik Satie - Gymnopedie No.3 (Orchestrated by Debussy)
The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist, Erik Satie.
These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopedies are regarded as the precursors to modern ambient music - gentle yet somewhat eccentric pieces which, when composed, defied the classical tradition. For instance, the first few bars feature a disjunct chordal theme in the bass - first, a G-major 7th in the bass, and then a B-minor chord, also in the lower register. Then comes the one-note theme in D major. Although the collection of chords at first seems too complex to be harmonious, the melody soon imbues the work with a soothing atmospheric quality.
Satie himself used the term furniture music to refer to some of his pieces, implying they could be used as mood-setting background music. However, Satie used this term to refer to only some of his later, 20th century compositions, without specific reference to the Gymnopédies as background music. From the second half of the 20th century on, the Gymnopédies were often erroneously described as part of Saties body of furniture music, perhaps due to John Cages interpretation of them.
By the end of 1896 Saties popularity and financial situation were ebbing. Debussy, whose popularity was rising at the time, helped draw public attention to the work of his friend.
Debussy expressed his belief that the 2nd gymnopédie did not lend itself to orchestration. (Orchestrations of this gymnopédie were only realised many decades later, by other composers, and without being frequently performed). Thus, on February 1897, Debussy orchestrated the 3rd and the 1st only, reversing the numbering:
First gymnopédie (original piano setting by Satie) → 3rd gymnopédie (orchestration by Debussy)
Third gymnopédie (original piano setting by Satie) → 1st gymnopédie (orchestration by Debussy)
The score was then published in 1898.
[from Wikipedia]
Artwork: Leonora Carrington Erik Satie - Gymnopedie No.3 (Orchestrated by Debussy)](https://i.ytimg.com/vi/KUlZylqILKI/mqdefault.jpg)
![Hans Bellmer
Hans Bellmer (13 March 1902 – 23 February 1975) was a German artist, best known for the life-sized pubescent female dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer.
Bellmer was born in the city of Kattowitz, then part of the German Empire (now Katowice, Poland). Up until 1926, hed been working as a draftsman for his own advertising company. He initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the new German state. Represented by mutated forms and unconventional poses, his dolls were directed specifically at the cult of the perfect body then prominent in Germany.Bellmer was influenced in his choice of art form by reading the published letters of Oskar Kokoschka (Der Fetisch, 1925).
Bellmers doll project is also said to have been catalysed by a series of events in his personal life. Hans Bellmer takes credit for provoking a physical crisis in his father and brings his own artistic creativity into association with childhood insubordination and resentment toward a severe and humorless paternal authority. Perhaps this is one reason for the nearly universal, unquestioning acceptance in the literature of Bellmers promotion of his art as a struggle against his father, the police, and ultimately, fascism and the state. Events of his personal life also including meeting a beautiful teenage cousin in 1932 (and perhaps other unattainable beauties), attending a performance of Jacques Offenbachs Tales of Hoffmann (in which a man falls tragically in love with an automaton), and receiving a box of his old toys.After these events, he began to actually construct his first dolls. In his works, Bellmer explicitly sexualized the doll as a young girl. The dolls incorporated the principle of ball joint, which was inspired by a pair of sixteenth-century articulated wooden dolls in the Kaiser Friedrich Museum.
He visited Paris in 1935 and made contacts there, such as Paul Éluard, but returned to Berlin because his wife Margarete was dying of tuberculosis.
Bellmer produced the first doll in Berlin in 1933. Long since lost, the assemblage can nevertheless be correctly described thanks to approximately two dozen photographs Bellmer took at the time of its construction. Standing about fifty-six inches tall, the doll consisted of a modeled torso made of flax fiber, glue, and plaster; a mask-like head of the same material with glass eyes and a long, unkempt wig; and a pair of legs made from broomsticks or dowel rods. One of these legs terminated in a wooden, club-like foot; the other was encased in a more naturalistic plaster shell, jointed at the knee and ankle. As the project progressed, Bellmer made a second set of hollow plaster legs, with wooden ball joints for the dolls hips and knees. There were no arms to the first sculpture, but Bellmer did fashion or find a single wooden hand, which appears among the assortment of doll parts the artist documented in an untitled photograph of 1934, as well as in several photographs of later work.
Bellmer died 24 February 1975 of bladder cancer. He was buried beside Zürn at Père Lachaise Cemetery with a tomb marked Bellmer - Zürn.
[from Wikipedia]
Music by Steve Roach & Robert Rich Hans Bellmer](https://i.ytimg.com/vi/KibNNft0ZCk/mqdefault.jpg)
![Sam Yong
Sam Yong is a self-taught painter and illustrator from Melbourne. He works across different traditional mediums. As a self-confessed introvert, Sam has a love of nature and solo adventure. He is often found booking a last minute flight to a far away land. This love of solitude, the unknown and the natural world manifests itself through his artwork. The connection between human narratives which are represented through nature is something which has always been present in his work; no matter what the medium. Sams work has been exhibited in Paris, The United States, New Zealand and Melbourne, along with a multitude of private commissions across the globe.
[from: https://samyong.art/about]
Music: Alio Die & Lingua Fungi Anglers Lantern Sam Yong](https://i.ytimg.com/vi/LKEtIDhQFhU/mqdefault.jpg)
![Dorris Vooijs
Dorris Vooijs likes to mix things up. Her artwork is an altogether unique crossbreed between painting, collage making, drawing, textile art, and digital art and it can’t be contained or defined properly. A mix of traditional and modern techniques, it relies on anything from acrylic and oil paints to spray paint, textiles, and Photoshop.
Having studied Fine Arts at ArtEZ University in Arnhem and later obtained a BFA in Drawing and Art History, Vooijs’ art is built upon a solid foundation, an experimentation with shape and form. “I like to see what happens when you cross digital stuff and layer that with traditional methods,” she explains on her website. “Building up and peeling pieces away or scratching my way back to the surface, until I feel that it might be time to step back and leave it alone.”
Though her pieces vary, the process is fairly straight forward and usually begins with an image found on the internet or in magazines. Often, these images become the physical basis for Vooijs’ work. Using digital sketches, prints, markers, spray paint, thread, and ink, she transforms the original images so that they reflect her life and her aesthetics.
“Some pieces took so long I almost gave up,” she relayed in an interview with Jung Katz. “Actually, I did repaint a lot of my work… sometimes it’s just the quickest fix and besides that, it’s budget-friendly. I also often work on a couple of pieces simultaneously.”
[from: https://mobispirit.com/building-up-or-peeling-away-dorris-vooijs-unique-art/]
Music: Robert Rich Never Alone Dorris Vooijs](https://i.ytimg.com/vi/LXbyv75hdG8/mqdefault.jpg)
![Maki Horanai
Maki Horanai was born in Japan and presently lives in South East Queensland, Australia. She grew up in small seaside villages in Hokkaido, northern Japan, where she often sat or played along the beach.
Makis early influences were the ocean, the shore, the birds and islands she saw both in reality and in her imagination. She began painting in high school and continued through college and graduate school where she was strongly influenced by the colors and themes of western and eastern art.
[from: https://www.tuttartpitturasculturapoesiamusica.com/2011/07/maki-horanai-japan.html]
[http://makihoranai.com/]
Music: Alio Die Monte Analogo Maki Horanai](https://i.ytimg.com/vi/L_y_dFTe1RI/mqdefault.jpg)
![Louis Apol
Lodewijk Frederik Hendrik (Louis) Apol (6 September 1850 in The Hague - 22 November 1936 in The Hague) was a Dutch painter and one of the most prominent representatives of the Hague School.
The talent of Louis Apol was discovered early in his life and his father ordered private lessons for him. His teachers were J.F. Hoppenbrouwers and P.F. Stortenbeker. He received a scholarship from the Dutch King Willem III in 1868. Louis Apol specialized in winterscapes. People/figures are seldom found in his paintings.
In 1880 Louis Apol took part in an expedition on the ss Willem Barents to Spitsbergen (Nova Zembla) in the Polar Sea. The impressions of this journey were a source of inspiration during his whole life.
His work is widely spread and found in the USA, United Kingdom and Germany. The Rijksmuseum Amsterdam and the Gemeentemuseum Den Haag have work of Louis Apol in their collection. A street is named after him in the neighborhood of streets named after 19th and 20th century Dutch painters in Overtoomse Veld-Noord, Amsterdam.
[from Wikipedia]
Music: Harold Budd & Brian Eno First Light Louis Apol](https://i.ytimg.com/vi/LcrpfWq4nIg/mqdefault.jpg)
![Zdzisław Beksiński
Zdzisław Beksiński (pronounced [ˈzd͡ʑiswaf bɛkˈɕiɲskʲi]; 24 February 1929 – 21 February 2005) was a Polish painter, photographer and sculptor, specializing in the field of dystopian surrealism. Beksiński did his paintings and drawings in what he called either a Baroque or a Gothic manner. His creations were made mainly in two periods. The first period of work is generally considered to contain expressionistic color, with a strong style of utopian realism and surreal architecture, like a doomsday scenario. The second period contained more abstract style, with the main features of formalism.
Beksiński was stabbed to death at his Warsaw apartment in February 2005 by a 19-year-old acquaintance from Wołomin, reportedly because he refused to lend the teenager money.
Beksiński had no formal training as an artist. He was a graduate of the Faculty of Architecture at the Kraków Polytechnic with M.Sc. received in 1952. His paintings were mainly created using oil paint on hardboard panels which he personally prepared, although he also experimented with acrylic paints. He abhorred silence, and always listened to classical music while painting. Although he loved classical music, Beksinski also appreciated rock music.
An exhibition in Warsaw in 1964 was his first major success, as all his paintings were sold.
Beksiński undertook painting with a passion, working intensely and whilst listening to classical music. He soon became the leading figure in contemporary Polish art. In the late 1960s, Beksiński entered what he himself called his fantastic period, which lasted up to the mid-1980s. This is his best-known period, during which he created very disturbing images, showing a gloomy, surrealistic environment with very detailed scenes of death, decay, landscapes filled with skeletons, deformed figures and deserts. These paintings were quite detailed, painted with his trademark precision. At the time, Beksiński claimed, I wish to paint in such a manner as if I were photographing dreams.
The late 1990s were a very tragic time for Beksiński. His wife, Zofia, died in 1998; a year later, on Christmas Eve 1999, his son Tomasz (a popular radio presenter, music journalist and movie translator) committed suicide. Beksiński discovered his sons body. Unable to come to terms with his sons death, he kept an envelope For Tomek in case I kick the bucket pinned to his wall.
On 21 February 2005, Beksiński was found dead in his flat in Warsaw with 17 stab wounds on his body; two of the wounds were determined to have been fatal. Robert Kupiec, the teenage son of his longtime caretaker, and a friend were arrested shortly after the crime. On 9 November 2006 Robert Kupiec was sentenced to 25 years in prison, and his accomplice, Łukasz Kupiec, to 5 years by the court of Warsaw. Before his death, Beksiński had refused to loan Robert Kupiec a few hundred złoty (approximately $100 USD).
[from: https://en.wikipedia.org/wiki/Zdzis%C5%82aw_Beksi%C5%84ski]
Music: Zero Ohms Glimpsing The Eternal Zdzisław Beksiński](https://i.ytimg.com/vi/LcwpSlP5YVE/mqdefault.jpg)
![Sidney Sime
Sidney Herbert Sime (1867 – 22 May 1941, often S. H. Sime) was an English artist in the late Victorian and succeeding periods, mostly remembered for his fantastic and satirical artwork, especially his story illustrations for Irish author Lord Dunsany.
Sime was born in Manchester in poverty. After a five-year career in the mines, including as a scoop pusher, work at a linen shop, a barbers, and as a signwriter (setting up in his own right), he studied at the Liverpool School of Art. During his time there, he won several awards.
Sime quickly became famous for drawings and illustrations with fantastic themes, with a presence in Pick-Me-Up, The Idler and the Pall Mall Gazette. The fantastic treatment often masked biting satire, especially aimed at the rich and at politicians.
He received an inheritance after an uncle died and bought The Idler, but sold out within two years.
n 1904, Sime was approached by the author for whom he is most often remembered, the Irish Lord Dunsany, to illustrate his first book, The Gods of Pegana, finally published in 1905. This began an association which lasted for the rest of his life, with his illustrations especially prominent in Dunsanys earlier work (until c. 1922). For one volume, at least some of the stories were inspired by Sime works (The Book of Wonder), and for three, in special limited editions, each plate of illustration was signed by both author and artist.
Sime, who had produced a play with limited success in 1905, did both scenery and costume work for a number of productions, and had exhibitions in 1923 and 1927. In his later years, he produced less work but more in colour, his earlier work having been almost exclusively monochrome.
Today, Sime is best remembered for his work with Lord Dunsany.
At least four collections of Simes work have been published, though none are in print today.
Illustrator Roger Dean is among many who cite him as an influence.Writer H. P. Lovecraft was also a fan of his (mentioning the artist in the stories Pickmans Model and The Call of Cthulhu) as was Howard de Walden.
The Sime Gallery is still extant in the village of Worplesdon near Guildford but the most famous collections of Sime work belonged to Lord Dunsany and Howard de Walden. The latter is unavailable, and it is believed many were lost in a fire. However, the Dunsany collection, including all the originals of Simes work for Dunsany, plus a few other pieces, and notably with several in colour, can be viewed by arrangement at Dunsany Castle in County Meath, Ireland.
[from Wikipedia]
Music by Steve Roach, Robert Rich Sidney Sime](https://i.ytimg.com/vi/Ljr3ep726ws/mqdefault.jpg)