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Archive for September, 2009

THE BLACK HORSE
 

A nine year old practice piece
Please note that the true height of this horse and rider are over nine feet on the canvas and that this horse is in the audience’s face.
If we think about these horses as segments of time* in lieu of what they stand for, the black horse carries the balances.  For me that means equality and justice.  Throughout history if we look at time and where various equalities meant more than ever before, that is the time we currently live in.  Think about it…womens rights, smokers rights, gay rights, human rights, racial and ethnic rights, world rights, human rights,…Who was the father of equality?  Who stood up for rights of equality more than anyone in history?
Martin Luther King
and he is the rider of the Black Horse.
“…a “BLACK HORSE” appeared and went forth, whose Rider held in his hand a “pair of balances,…” 
 
I am still negotiating whether to have this horse facing forward and reared.  I think that presence would be astounding but would take the faces further away from the viewer.  Here the faces are too significant in this portion of the painting.  The rider is higher than 6 feet on the painting without the horse reared and the perspective from below looking upward may interfere with the true message in this scene.
This is still very much a working piece.
 

Behold…THE BLACK HORSE!

 

 
*Please watch for the future blog on the Four Horsemen, racial classification,  and the segments of time they represent.  Along with the racial classifications of the horses, this blog will illustrate how races and time interact from past, present and into the future.  The coming blog will also reveal suprising political figures within the painting (the second and mysterious painting hidden in plain site within The Revelation Painting who have a part in the ancient and ongoing battle of good and evil noted in the journals overview blog).

 

 

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The Black Horse is moving right along.  His body will be complete by the 01/31st and the head will follow.   The orange is the fire of Hell which follows The Pale Horse (see the working images blog for The Pale Horse).

Keep in mind, you are seeing 64 square feet of the painting here which was a challenge in perspective!  The Black horse will be over 9 feet tall when completed.   Martin Luther King’s foot is an actual size 12 in the painting, just to give you an idea of his size on canvas.

The high gloss emulsion required to seal the real hair onto the canvas for the mane (and tail) creates a glare on the photos and for that I apologize.  I will have to have professional quality photos taken at a later date.  The balances, or scales are incomplete.

The swirling fur pattern is seen here, as well as the lines of the 48″ x 48″ canvases.  Martin Luther’s feet hang in the wheat and barley which is still incomplete.  The highlights of the horse’s musculature id Interference Blue (a metallic blue powder).

The dead, black-green grass of The Pale Horse coming will crash into the live wheat and barley grass of The Black Horse.  I like the dirt division line but am having a problem making The Pale Horse look further away.  The green and beige grasses need to be taller, brighter and more detailed to make the perspective of distance.

Wheat and barley, incomplete.  The kness with fur detail.  Martin Luther’s toes are hanging down here and still incomplete as well.  I am considering something in the background but am unsure what may be there at this point.  It is a lot of space.

Close up of the real hair, unfinished as well.  I used far more hair than I wanted.  It has been a long time since I worked with the hair and forgot just how overwhelming it can be.  The picture is blurry and I will be taking more.  The hair also requires much more for finishing to create the effect of being “a part” of the painting.

Watch for more….The completed 64 square feet will be at:  www.therevelationpainting.com before it is here.

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The Pale Horse is still a work in progress.  His rider will be a skeleton.  The Pale Horse’s rider is named Death so I painted not only the horse with the green tint of decomposition (see the Medical Examiner blog), but the grass dying as he rides over and near it.  The orange is the base of Hell which follows.  There will be a mystery embedded here when it is complete.

This is the second horse I painted from The Four Horsemen scene.  Although the canvas is 4 feet by 4 feet, I thought that painting him in the center would surely give room for distance and perspective but I was wrong.  He will not be as far back as I originally calculated.  There will be a blog to follow about the meaning of the horse’s related to time and their significance.  The Pale Horse’s time is coming, maybe closer than I was originally thinking.  It may have been meant to be this way. (CLOSER) 

Please note the color is off here.  The horse is actually greener than it appears here.  I am still working on this horse.  I have taken the “hump” from his neck behind his head in order to show more of his skeleton rider.  I like the eyes, they are from the original attempt of the horse’s face when I did not realize hors’e eyes are on the sides of their heads, not the front.

From the front perspective looking at the horse, the right eye is darker as it is in decomposition.  Some of the green hue is seen here.  The horse will have a human hair mane and tail-blond with green highlights.

Watch for more….The pictures will be at:  http://photos.therevelationpainting.com

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It is time to get back into gear.  I spent the last few months in useless “marketing” efforts trying to gain corporate sponsorship for this massive painting.  I have come back to my senses and realized I, and I alone are the master of this painting’s destiny.  Never do I, or have I started at the bottom and worked my way up.  I have this simple philosophy:  Start at the top! It could end up in a tragedy or success because at the top, the only place to go is down.  The key is once you get to the top, you never let go!

I am the creator of a massive work of art called THE
REVELATION PAINTING which measures an incredible 12 feet by 40 feet!  Not since DaVinci’s time has there been a religious painting of this magnitude.
This painting is history in the making!

I am writing you Sir in effort to gain your support.  I am an American born artist but the significance of this painting is paramount.  I would like to release this painting from Italy with the support of the church.  There has been nothing throughout history which can match the true magnificence this painting.

The painting is alive and moves with fire, passion, and energy!  It bleeds on the canvas and returns to its original state.  There are messages within the painting written backwards and the painting changes to other paintings in front of the audience’ eyes, true awe and spectacular!

There are mysteries of Revelation which are uncovered within the painting which will change what we previously knew about the book of Revelation.  It is well worth the churches time to look into this painting and I would be honored as the artist.

I have been working on this painting for the past 11 years, it is what I
would consider a “life’s work.”  I have received materials for this painting from around the world, making it a true global effort.  Please feel free to contact me at any time.

I have created a blog:  www.therevelationpainting.wordpress.com

  where I am creating public interest very rapidly!  This is the last year of the painting’s creation which has been kept a secret until now.  It is exciting and I would very much appreciate your attention above all which become involved.

Respectfully yours

Below, you can see a summary (Please note I am not a professional marketer, just an artist working independently on all aspects of this painting):

—ABOUT THE PAINTING—
The Revelation Painting©
“La pittura di rivelazione”

THE REVELATION PAINTING is a massive work of art measuring 12 feet by 40 feet with 7 magnificent scenes.  Thirty canvases 48″ X 48″ were required for the creation of the painting.  The canvases are of gallery wrapped cloth and custom made wooden canvases required to carry the weight and storage of the elements of the painting.  This painting will travel the world in exhibition and is indeed history in the making!  The artist has expressed that in this world of turmoil and unsettling conflict, that something very beautiful can be created through resources not commonly used to create unity and world peace.  Over ten years have been dedicated to exposing the beauty of the world and its resources, its people, spirit, culture and soul.  The artist states:  “It is a “presence” of beauty for the world, visual peace in times of turmoil.”

The painting incorporates fiber optics, 3D “flip” graphic resources, and gemstones from around the world, among other things commonly not seen in fine arts, yet the quality is comparable to the work of the “old masters” in its creation.  Each gemstone holds a sacred place in the painting which is identified in one of seven journals being created simultaneously titled: The Stones.  The journal includes information about the stones and their origin related to the painting.  One of the mysteries of Revelation has been uncovered in this section of the painting!  There is an area of precious and semiprecious crushed gemstones creating the New City which spans a total of 220 inches respectively where over $40,000.00 to this date, has been
invested-Ruby, Sapphire, Chalcedony, Sardonyx, Carnelian, Beryl, Helidor, Topaz, Bixbite, Zircon, Amethyst, and Chrysoprasus…it is stunning and like nothing you have never seen!  Each 1″ section of gemstone coverage required 6 carats of crushed gemstones.  The painting also contains titles and subtitles in languages from all over the globe!
The other six journals are:
+ the artist ideas, thoughts, and feelings while creating this life’s work
(2 books Dreams, Visions)
+ Sketches of the work (1 book), Truth-The Hemorrhage of Pigs! (1 book)
+ Measures-with such a massive size it was imperative that the measurements be precise. (1 book)
+ Journal of Acknowledgement, the most important journal in the series acknowledges the participation no matter how great or small toward the completion of this masterpiece.  It discloses not only their personal contribution but information provided by the contributor and advertising if desired of their businesses, personal information, dreams and aspirations.
Essentially whatever the contributor wants to say to the world! (1 book)
The painting will be shown via webcam in mid 2010 with the artist working on it…THE FINALE.  There will be scans of the work and updates regarding all aspects of this wonderful creation starting in January 2010.  You will view the last year of the making of this historical painting.  It is a painting to the people for the people.  You and the world are a part of it!

Please contact: inquiries@therevelationpainting.com
For more detailed information on the painting, see
www.therevelationpainting.wordpress.com
Mark your calendar for June 2010 when www.therevelationpainting.com goes live with webcam shots of the work being created.
 

 

See, he is reading my email!  Look at his face, he is astounded!  Now it’s just a waiting game…

It is unclear to me that if I had been marketing this painting for the past 11 years, if I would have been any further than I am.  It does not seem that I will gain corporate sponsorship until it is complete, then as they say:  “Everyone will be your friend”…you know.  I have been watching the U.S. economy and feel as though The Revelation Painting will not get the recognition it deserves here and have decided to release it from Italy, specifically Rome and the “grand-daddy” of religious art-The Vatican!  Regardless, tonight I did something drastic.  Tonight I wrote the Pope~!

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CHALCEDONY

THE THIRD FOUNDATION IN THE NEW CITY SCENE VII

Chalcedony is a quartz, specifically a microcrystalline (the crystals are too small to be seen by any other means other than high magnification) quartz.  Named after the ancient seaport of Chalcedon in Turkey or Greece (I will research more into the origin and edit appropriately).  It is usually sold as Chalcedony if translucency is visible and of a single color.  Other microcrystalline sold under various names which do not meet the before stated criteria.  Visually Chalcedony is the finer specimen.  An example stone not meeting the criteria is Jasper; a close relative, (please see the blog on Quartz).

 Chalcedony comes in a variety of colors and is most known for its sky blue.  Initially a far better stone in the 12 foundations to illuminate the heavenly blue skies I imagined.  Upon soliciting stones from all over the world, it was the blue which I requested unknowing then, it was the wrong color.  My collection of carat weight Chalcedony in rough and faceted form is vast in the blue colors.

I only found within the last year that it was the red I needed for accuracy in the mystery I have uncovered about the foundation stones which have been missed throughout all time!  Translucent red chalcedony; otherwise known as Carnelian, owes its red to color to hematite (iron oxide).

 

RED CHALCEDONY

 
Chalcedony has been used as an ornamental throughout time all over the world in carvings and jewelry and is known by several names including:  Agate, Bloodstone, Carnelian, Chrysoprase, Onyx, Sardonyx, Plasma, Sard, among other names.  Interestingly enough several of these stones are mentioned within the 12 foundations of the New City.  Many of the stones are related, or very closely related in fact.
 
Chalcedony is said to aid in prevention and curing of melancholy and driving away evil spirits, and a preventive of danger during sinister events.  It is known as an antinflamatory, lowers fever, helps the eyes, eliminates fluid retention, decreases blood pressure, helps the body with changes in temperature.
 
 Chalcedony is found worldwide but main sources are:  U.S., Brazil, Madagascar, India, and Uruguay.  Chalcedony is one of the earliest materials used by humans; flint is a form of chalcedony, and these hard stones were made into weapons and tools.  Hot wax does not stick to chalcedony, so seals were made of it in ancient times.
 
 

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EMERALD

The Fourth Stone

Beryl has been considered a valuable gemstone since prehistoric times. There are many colors of beryl known under many names.  Green beryl is called emerald

.  In the 1800s green beryl was removed from the beryl family and called emerald.  Blue beryl is aquamarine, colorless is goshenite, pink is morganite and yellow is heliodor ranging from a bright yellow to a honey-golden yellow.

Red beryl is extremely rare and mimics shades of red from bubble gum to to scarlet, or the color of blood.


 

Mainly found within the Wah Wah Mountains of Utah, only an estimated 60 pounds were ever mined in the history of the world!  Some smaller amounts have been found in other countries recently.

 

Oddly enough it seems people are drawn to this stone yet do not understand why.  The reason will be revealed later via an exerpt from The Stones Journal.  The most common thread between this stone, its rarity, and the similar color of blood is in fact that the bible pounds a message to its readers that we should never forget that Jesus shed his blood for our sins.

What better way to elevate the significance of that sacrifice than to mark it with the rarest gemstone in the world?  These facts seem confusing but within The Revelation Painting there is a mystery of Revelation which has been overlooked since the bible was written and it will be revealed in The Stones Journal.  Once revealed, the mystery is easily seen in the painting.

 

The price for red beryl or Bixbite is astronomical!  For one faceted carat, you can expect to pay $20,000.00 or more.  Although I have obtained 6 carats of rough stone and the collection required for this section of the painting (an estimated 272 carats) will obviously have to be forfieted in lieu of a replacement stone of similar color or some other meaningful way to express the significance of this most important section.

I once spoke to a man who had worked in the mines in Utah and asked for the owner’s contact information.  He was very put off when he found that I needed to crush it for the painting.  He went on to say that the stone was highly coveted and that the owner would never sacrifice it for the painting.  I will never know if I do not ask, so time will tell if the mine owner will sacrifice a handful of the stone.

 

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