Uploaded September 2021 | Updated September 2026, 1 week ago
Albert Carel Willink (Dutch: [ˈɑlbərt ˈkaːrəl ˈʋɪlɪnk]; 7 March 1900 – 19 October 1983) was a Dutch painter who called his style of Magic realism "imaginary realism".
Albert Carel Willink was born on 7 March 1900 in Amsterdam in the Netherlands. He was the eldest son of the mechanic Jan Willink and Wilhelmina Altes. His father was an amateur artist who encouraged his son to paint.
After briefly studying medicine, in 1918-19 Willink studied architecture at the Technische Hogeschool in Delft. Afterwards he left for Germany, where he failed to get into the academy in Düsseldorf. He later studied for a short time at the Staatliche Hochschule in Berlin.
Willink's earliest paintings were in an expressionist manner, although he also painted abstract works at the time that he exhibited with the November group in 1923. By 1924 he had adopted a figurative style influenced by Picasso's neoclassical paintings of the early 1920s, and especially by Léger. Later in the decade, Willink developed a magic realist style related to the metaphysical paintings of Giorgio de Chirico.
From 1935 until his death Willink lived in Amsterdam. His realistically rendered paintings frequently depict slightly disquieting scenes taking place in front of imposing buildings. He also painted many portraits.
Willink married four times. His first marriage in 1927 with Mies van der Meulen (1900-1988) dissolved after a year, but his second in 1930 with Wilma Jeuken (1905-1960) lasted until her death of a brain tumor. In 1962 he started a relationship with the 38-year younger Mathilde de Doelder, whom he married in 1969. Their eccentric relationship made them a mainstay in the Dutch gossip columns of the time. In 1975 Willink started an affair with the 44-year younger sculptor Sylvia Quiël [nl]. In 1977 he divorced De Doelder, who either committed suicide or was murdered 4 months later. The same year he married Quiël.
Willink died, at the age of 83, in Amsterdam on 19 October 1983. A small park in Amsterdam, near the Rijksmuseum, is named in his honour.
[from Wikipedia]
Music: Robert Rich & Steve Roach "The Grotto Of Time Lost"
Albert Carel Willink (Dutch: [ˈɑlbərt ˈkaːrəl ˈʋɪlɪnk]; 7 March 1900 – 19 October 1983) was a Dutch painter who called his style of Magic realism "imaginary realism".
Albert Carel Willink was born on 7 March 1900 in Amsterdam in the Netherlands. He was the eldest son of the mechanic Jan Willink and Wilhelmina Altes. His father was an amateur artist who encouraged his son to paint.
After briefly studying medicine, in 1918-19 Willink studied architecture at the Technische Hogeschool in Delft. Afterwards he left for Germany, where he failed to get into the academy in Düsseldorf. He later studied for a short time at the Staatliche Hochschule in Berlin.
Willink's earliest paintings were in an expressionist manner, although he also painted abstract works at the time that he exhibited with the November group in 1923. By 1924 he had adopted a figurative style influenced by Picasso's neoclassical paintings of the early 1920s, and especially by Léger. Later in the decade, Willink developed a magic realist style related to the metaphysical paintings of Giorgio de Chirico.
From 1935 until his death Willink lived in Amsterdam. His realistically rendered paintings frequently depict slightly disquieting scenes taking place in front of imposing buildings. He also painted many portraits.
Willink married four times. His first marriage in 1927 with Mies van der Meulen (1900-1988) dissolved after a year, but his second in 1930 with Wilma Jeuken (1905-1960) lasted until her death of a brain tumor. In 1962 he started a relationship with the 38-year younger Mathilde de Doelder, whom he married in 1969. Their eccentric relationship made them a mainstay in the Dutch gossip columns of the time. In 1975 Willink started an affair with the 44-year younger sculptor Sylvia Quiël [nl]. In 1977 he divorced De Doelder, who either committed suicide or was murdered 4 months later. The same year he married Quiël.
Willink died, at the age of 83, in Amsterdam on 19 October 1983. A small park in Amsterdam, near the Rijksmuseum, is named in his honour.
[from Wikipedia]
Music: Robert Rich & Steve Roach "The Grotto Of Time Lost"

![Yaroslav Gerzhedovich
Russian artist Yaroslav Gerzhedovich paintings are classically dark often monochrome and surreal creations. Featuring barren fields, ancient structures, and fantastical compositions Gerzhedovichs paintings transfix the viewer. The haunting imagery is created on paper with acrylic, pencil, ink and occasional digital manipulation. Inspired by the European masters from the 14-17th centuries Gerzhedovichs work reads as a detailed and dark surreal dreamworld.
[from: http://www.darkartandcraft.com/blog/yaroslav-gerzhedovich]
Music: John Serrie The Sum Over Histories Yaroslav Gerzhedovich](https://i.ytimg.com/vi/IBlpnvklJSo/mqdefault.jpg)
![Yoshitaka Amano
Yoshitaka Amano (born July 28, 1952) is a Japanese artist known for his illustrations for Vampire Hunter D and for his character designs, image illustrations and title logo designs for the Final Fantasy video game series developed by Square Enix (formerly Square).
Amano was born in Shizuoka, Japan; as a young adolescent, he was fascinated with drawing. In 1967, he began working for Tatsunoko Productions in the animation department, where he was introduced to the early Japanese anime movement.His first paid project was for the Speed Racer anime franchise (also known as Mach GoGoGo). He worked in character design for anime shows such as the Time Bokan series, the Gatchaman series, Tekkaman and the Honey Bee.
In the 1960s, Amano was exposed to Western art styles through comic books and their Japanese Western-influenced counter parts, and believes Western comics to be his artistic roots. He has cited Neal Adams as his favorite comic book artist, noting that he would often purchase used comics based on his cover artwork, only to be disappointed that the interior artist was different. Amano was also fascinated by the art styles of psychedelic art and pop art of the West, particularly the work of American Pop artist Peter Max.In the 1970s, Amanos intrigue led him to the study of the artworks of the late 19th century and early 20th century European movement of Art Nouveau, as well as the ancient Japanese hand woodblock printing work of Ukiyo-e. While concentrating on illustration, he was still at Tatsunoko Productions until he left in 1982.
In the early 1980s, he concentrated on illustrations for Science Fiction and Fantasy, while still keeping the influence of his animation and other illustration works from the 1960s and 1970s. This in turn created a unique personal style, which was influenced by both modern surrealism as well as realism fluent in many classic and modern techniques.
In 1983, he was behind the illustrations for the novel Demon City Shinjuku and the first of Hideyuki Kikuchis novel series Vampire Hunter D.This was adapted to a movie in 1985 for which Amano worked as character designer. The film was one of the first anime movies to be released outside of Japan. In interviews, however, Amano has stated that he was not pleased with the final product of the movie. More involvement in illustration had led to the creation of collections of his artwork being published, such as Maten in 1984.
In 1989, he had his first exhibition called Hiten at Yurakucho Mullion in Tokyo, Japan.He continued to work with Square and their Final Fantasy series, and in 1990 he started to work as an artist for stage theater. His first work for theater was Tamasaburo Bandos Nayotake, which was in the same year.During this time while working as illustrator, character designer and set designer, he had exhibitions of his becoming well-known for his printing works.
In 1994, after Final Fantasy VI, he was no longer the main character, image and graphic designer of the series (he started to provide promotional and character artwork for the next games, as well as working on the title logo designs for most of the games), but in 1995 he started to become better known world wide with his work at the Biennale dOrléans in France, and then in his newly established workshop and exhibition Think Like Amano in New York in 1997, which followed another exhibition in New York at the Angel Orensanz Foundation entitled Hero. Amano also appeared in the 1998 movie New Rose Hotel which is loosely based on the William Gibson short story with the same name, in which he played the character Hiroshi.
In 2008, Amano created an illustrated adaptation of Wolfgang Amadeus Mozarts The Magic Flute, published by Radical Comics. He also collaborated with Christopher mink Morrison of Quentin Tarantinos A Band Apart production company, providing illustrations for the novel Shinjuku and Shinjuku Azul, as well as a third unannounced follow up and an online game, Shinjuku Nexus. He was the character designer for the 2009 Jungle Emperor (Kimba the White Lion) TV special, directed by Gorō Taniguchi, to commemorate both the 50th anniversary of Fuji Television and the 80th anniversary of Osamu Tezukas birth.
In 2010, following a small solo art exhibition tour titled Devaloka it was announced that Amano had established a film production company, Studio Devaloka, and would be directing a 3D anime titled Zan, with additional projects to be announced in the future. On December 15, 2010, the official website for the film, now titled Deva Zan, was unveiled, along with information concerning an upcoming press conference, to be held on December 21, 2010. The roughly ten-minute-long conference revealed details about the project, including staff, as well as a short trailer for the film, which stylistically emulates the look of Amanos paintings.
[from: https://en.wikipedia.org/wiki/Yoshitaka_Amano#]
Music: Steve Roach Since We Are Away Yoshitaka Amano](https://i.ytimg.com/vi/IGBON1FaiUo/mqdefault.jpg)
![Jacek Yerka
Jacek Yerka is a surrealist who paints nature and material things that we see every day and produces images of them in a surprising way. Expressing his own reality of the imagination has won Yerka prestigious awards and honors in his native Poland, as well as exposure across the world. His paintings encourage the mind to drift to another place, and to imagine the impossible. Since 1980, he has been painting exclusively, completing commissioned works, as well as cooperating with several art galleries in Warsaw.
Jacek was born in Torun, Northern Poland, and both his mother and father were students of the local Fine Arts Academy. His earliest memories are of the smell of paints, which were a part of his childhood. His father was the source of imaginative ideas, and his mother made them work through artistic means. Yerka’s paternal grandmother was his source of play and awareness of nature, while his parents were busy creating his awareness of the artistic world.
Jacek was often preoccupied during his school-age years, and chose to immerse himself in his own little world, by sketching and sculpting. His social interactions often consisted of being bullied, and he would sketch these bully peers instead of interacting socially. In an attempt to choose a different path than his parents, Jacek was going to attend college to study astronomy or medicine initially, but before taking the entrance exams, he turned to painting.
Jacek initially tried to develop contemporary painting styles from impressionism to abstraction. He found himself fascinated with colors, and therefore with artists such as Cezanne and Paul Klee. The fifteenth century artists and Dutch tablet paintings were also a great influence in his painting evolution. Artists such as Hieronymus Bosch and Jan van Eyck were great inspirations to Yerka. Jacek attended the Faculty of Fine Arts at Nicolaus Copernicus University in Torun, and found himself also interested in graphic design.
Yerka was able to create clear and interesting messages, and enjoyed success on local and international levels as a poster designer. In 1972, his first poster won a prize, and he created many more successful posters before graduation. In 1980, Yerka painted exclusively, and fulfilled many commissioned works of art. In 1996, he added pastels to his typically acrylic works. Also in the mid 1990’s, Yerka was approached to do a science fiction film “Strawberry Fields”, which he designed art for. In a way the film was a depiction of his life as an artist.
Jacek Yerka draws on childhood memories and dreams for his subjects. The memories, places, and fragrances are displayed in pieces such as Between Heaven and Hell, A Hack at Dawn, Summer in the City, and Paradise in the Yard. Symbolic of his dreams are works such as New Age Manhattan, Metropolis, Strawberry Tree, Swimming Lesson, Cathedral, and Sonnet. Trips and visits to Polish countryside inns inspired the paintings Amok Harvest, Space Barn, Express Package, Full Bowl, and Jalousie.
Yerka typically begins his paintings with a graphite sketch, proceeding to a crayon drawing. Pastels are used before finally applying acrylic paints. His art is filled with vivid color, and is rich with imagination. The central figures in his art consist of trees, towns, houses, and water. Imagination is used to change the natural places of objects. Mountains may become waves, or rivers may run upwards. Yerka believes that nature is the determining force in human existence. His Flemish technique, sharply-focused acrylic application, and surreal placement of subjects make his style reminiscent of others, yet very unique as well.
Yerka’s art is exhibited and displayed in fine art museums in Poland, Germany, Monaco, France, and the United States. In 1995, Yerka was awarded the World Fantasy Award for Best Artist, and in 2008, an honorary plate by the city of Torun. With his father’s gift for unlimited imagination, Yerka is bound to keep viewers intrigued. He has named himself the Surrealist Cagliostro, yet his imagination is all his own, to continue to produce stimulating art.
[from:https://totallyhistory.com/jacek-yerka/]
Music: Alio Die, Remco Helbers The Garland Of Dissolution Jacek Yerka](https://i.ytimg.com/vi/IKbcvgTTEjo/mqdefault.jpg)
![Erik Satie - Gymnopédie No.2
Alfred Eric Leslie Satie (Honfleur, 17 May 1866 Paris, 1 July 1925) was a French composer and pianist. Starting with his first composition in 1884, he signed his name as Erik Satie.
Satie was introduced as a gymnopedist in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a phonometrograph or phonometrician (meaning someone who measures (and writes down) sounds) preferring this designation to that of musician, after having been called a clumsy but subtle technician in a book on contemporary French composers published in 1911.
In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American Vanity Fair. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings.
Satie was a colourful figure in the early 20th century Parisian avant-garde. He was a precursor to later artistic movements such as minimalism, repetitive music and the Theatre of the Absurd.
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[citation needed] - 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.
[from Wikipedia]
Artwork:Leonora Carrington
Played by:Daniel Varsano, Philippe Entremont Erik Satie - Gymnopédie No.2](https://i.ytimg.com/vi/IM54ja7p86U/mqdefault.jpg)
![Samplerman
Yvan Guillo is not an illustrator who is about to be held back by traditional practices. One day while he was sampling the tonal background of vintage comics to create a more retro feel in his own panels, he accidentally selected an area with a character in it, and his crazy new mash-up technique was born. He has continued creating works using these techniques under the pseudonym Samplerman, posting them on a Tumblr of the same name to create an extensive series. Even better, he created the word “procrastinatic” to describe such an activity. Making up formats and adjectives? Who is this enigmatic creator?
The Samplerman comics have now grown into a huge archive of works which are more redolent of a strange Surrealist painting than of anything Marvel might have made.
I am a French cartoonist, born in the early 70s and living in Brittany. I have been doing comics since my childhood, and more intensively (if not professionally) for more than 20 years. My pages are published in several fanzines – Gorgonzola, Que Suerte and Hopital Brut. I have also had my own collective Crachoir for many years. Most of my work is self-published, and I’ve made works as diverse as stories for children, or surrealist drawings in black ink or… Samplerman. For a living I’m also a graphic designer.
[from: https://www.itsnicethat.com/articles/samplerman]
Music: Hammock Dark Beyond The Blue Samplerman](https://i.ytimg.com/vi/IvYaJw5cLQ0/mqdefault.jpg)
![Erik Satie - Gnossienne No.4
Alfred Eric Leslie Satie (Honfleur, 17 May 1866 Paris, 1 July 1925) was a French composer and pianist. Starting with his first composition in 1884, he signed his name as Erik Satie.
Satie was introduced as a gymnopedist in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a phonometrograph or phonometrician (meaning someone who measures (and writes down) sounds) preferring this designation to that of musician, after having been called a clumsy but subtle technician in a book on contemporary French composers published in 1911.
In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American Vanity Fair. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings.
Satie was a colourful figure in the early 20th century Parisian avant-garde. He was a precursor to later artistic movements such as minimalism, repetitive music and the Theatre of the Absurd.
Gnossienne is the name given to several piano pieces by French composer Erik Satie in the late 19th century.
Saties coining of the word gnossienne was one of the rare occasions when a composer used a new term to indicate a new type of composition. Satie had and would use many novel names for his compositions; for example, ogive had been the name of an architectural element until Satie used it as the name for a composition, the Ogives Similarly with vexations, croquis et agaceries and so on—but gnossienne was a word that did not exist before Satie used it to indicate a composition. Gnossienne appears to be derived from the word gnosis; Satie was involved in gnostic sects and movements at the time that he began to compose the Gnossiennes. However, some published versions claim that the word derives from Cretan knossos or gnossus and link the Gnossiennes to Theseus, Ariadne and the Minotaur myth.
The Gnossiennes were composed by Satie in the decade following the composition of the Trois Sarabandes (1887) and the Trois Gymnopédies (1888). Like these Sarabandes and Gymnopédies, the Gnossiennes are often considered dances. It is not certain that this qualification comes from Satie himself—the sarabande and the Gymnopaedia were at least historically known as dances.
The musical vocabulary of the Gnossiennes is a continuation of that of the Gymnopédies (a development that had started with the 1886 Ogives → Sarabandes → Gymnopédies → Gnossiennes) later leading to more harmonic experimentation in compositions like the Danses Gothiques. These series of compositions are all at the core of Saties characteristic 19th century style, and in this sense differ from his early salon compositions (like the 1885 Waltz compositions published in 1887), his turn-of-the-century cabaret compositions (like the Je te Veux Waltz), and his post-Schola Cantorum piano solo compositions, starting with the Préludes flasques in 1912.
[from Wikipedia]
Performed by:Reinbert de Leeuw
Artwork:Remedios Varo Erik Satie - Gnossienne No.4](https://i.ytimg.com/vi/JE8ReAAcZjU/mqdefault.jpg)
![Kilian Eng
Kilian Eng was born 1982 in Stockholm, Sweden. He graduated in 2010 from Konstfack, University of Arts Craft & Design in Stockholm with a bachelor and master in Illustration and storytelling.
Kilians medium of choice when illustrating is digital, something he has developed and explored for many years now.
Elements that he often comes back to is the importance of color and lighting in a composition where geometry, the environment and organic shapes often is prominent. He likes to give his images a surrealistic touch and place the visuals in an alternative reality that hopefully evokes the viewers curiosity to explore and fantasize further.
His strongest artistic influences comes from many of the European artists who worked and is still working in the genre of sci-fi and fantasy with a very open mind what that can be.
[from: https://www.debutart.com/artist/kilian-eng?tags=sci-fi]
http://dwdesign.tumblr.com/
Music: Robert Rich Veil Of Mist, Alio Die Fragile Imagery Kilian Eng](https://i.ytimg.com/vi/JRn7763FRjQ/mqdefault.jpg)
![Akiya Kageichi
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: https://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](https://i.ytimg.com/vi/JYJo8tXPqvE/mqdefault.jpg)
![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)