HISTORIC MYSTERY REVEALED!

THE REVELATION PAINTING-A MYSTERY REVEALED

This is a true revelation about The Revelation Painting. Throughout history it has been missed and will change religion, as well as history as we know it to be regarding Revelation in the bible. After working on this painting for the past 13 years I realize exactly how something of this magnitude was missed. Upon crushing stones for the painting I began to see how the colors created something very familiar although it was not fully apparent at first. Initially I saw the stones of the twelve foundations just as anyone else but then started to see a pattern. Intermittently within the pattern some stones seemed out of place. I began to research the origins of the stones, ancient known colors, their original names, ancient descriptions and then I realized what the stones meant. A story unfolded before my eyes!

The first stone of the twelve foundations is Jasper (please see the blog on Jasper and subsequent stones). I imagined a “New City” in the sky; the heavens and thought the correct stone was Ocean Jasper; a blue stone. I began requesting Ocean Jasper from all over the world. It was through a dream that I realized my mistake only 10 years later. A dream lead to the discovery and it was as though a tape recorder played the sentence: “His face shone like the sun, as a precious gemstone as clear as crystal; a Jasper stone.” Day and night the words taunted me. I researched Jasper; a quartz and realized that it was the clear, brilliance of quartz crystal which reflects small rainbows within it similar to a diamond effect! What better a stone to signify the pure cleanliness, shine and glory of God himself? A city which “shines like the sun”.

Sapphire followed but the common blue sapphire was not correct either. Upon researching the colors of Sapphire, I was in awe to realize that red Sapphire is a Ruby! I placed a Ruby for the second stone of the foundations and threw caution to the wind. It was a very expense risk and the first time I smashed a ruby into shards I thought I would pass out but interestingly enough, it was comfortable and extremely natural. Mingling ruby with the quartz began to create a fading effect, like dry pigments; the richer the mixing the darker the color, so a small amount caused a pink effect fading to a rich, translucent red-the hallmark of the brilliance only Ruby has. Little did I realize at that time the translucency also played a significant role in the meaning of the New City and the twelve foundation stones.

The third stone, Chalcedony was also known for its sky blue, heavenly color. Now, against the red and clear it was obvious that the blue was incorrect. According to the pattern of color I was trying to discover, it was apparent the Chalcedony was minimally red-orange, if not solidly red. I researched Chalcedony and once again was surprised to find that red is a rare color of the stone. The red of Chalcedony is more opaque that the Ruby. When I looked at the red color it reminded me of blood; the red-orange color of blood and it was like the brilliance of God was bleeding, fading like a slow bleed. It was only destiny that the next stone-Emerald was red. I battled over my theory and knew that at one time Emerald had to have been a red stone. I started from the beginning.

Emerald is a Beryl. Beryl’s come in all colors, including red. After intermittently learning about stones, it was when the economic crisis in the United States prompted me to start collecting a “nest egg”, something that would always have value throughout time like gold, platinum, precious gemstones… I looked for the rarest gemstone in the world and found beyond my wildest imagination red Beryl, a red “Emerald” or Bixbite! I still faced the dilemma of why the only Emerald I had ever known was green. I found that in the 1800s green Beryl was separated from the family and man called it Emerald! I had found the discrepancy amongst the stones and within the fade from translucency to opaque, the deepest red of Bixbite is the color of blood! My New City was bleeding!

What is the most powerful sacrifice made for humanity in the bible? Jesus shed his blood and died for our sins so that we will have everlasting life. Everlasting life in God’s New City! How appropriate for a New City-God’s New City, a new and pure beginning to shine in his image first and foremost. Secondly, to never let us forget the sacrifice which was made-Jesus’ blood and ultimately his life? The first six foundations show glory, a slow bleed, a vanishing bleed through Sardonyx and Sardius (Carnelian) turning red-orange to orange, and the seventh stone (a division stone from one message to another yet overlapping to connect the meanings of a promise), is Chrysolite-gold, like the streets of the New City shiny like glass.

The following colors after Chrysolite are the seven colors of the rainbow in their correct order. A rainbow signifies a “promise” as noted in the story of Noah’s Arch. Personally I would imagine that within the New City there would include a promise of purity, overall good and God’s plan. As I have stated before: I am not religious but I am learning to make my own decisions. If I were God I suppose I would have hidden astounding clues within my work which is what prompted the many mysteries within The Revelation Painting. It is an exciting time and Revelation is rising!

The New City of Revelation and its 12 foundations
The stones are in their correct order.
This information is copyrighted by its author © 2009
Discovery of this information is protected under United States Intellectual Property Laws. Any infringement upon this intellectual property constitutes a violation of those Laws and is subject to criminal prosecution.

RAINBOW

Revelation is about sevens and mysteries. There are seven colors in a rainbow. The seventh stone from top to bottom in the mentioned in the foundations is Chrysolite which signifies a division line within the foundation stones between two messages.

JASPER (QUARTZ)
Rev. 21:11 …“It shone with the glory of God, and its brilliance was like that of a very precious jewel, like Jasper, clear as crystal.”

JASPER-QUARTZ "As clear as crystal"

SAPPHIRE (RUBY)
Every color of the stone Corundum is considered a ”Sapphire” except for red. The red Sapphire is a Ruby.
Translucent red fading from the clear…starting to bleed…

SAPPHIRE (RED) RUBY

CHALCEDONY
More opaque, a richer red-a rare color…heavier bleeding…

CHALCEDONY (RED-OPAQUE)

EMERALD
A Beryl. In the 1800’s, man removed the green Beryl from the Beryl group and called it an Emerald. Is this the Emerald mentioned in the foundations of the New City? It fits perfectly into the scheme of color and meaning.
RED Beryl-Bixbite, the rarest gemstone in the world!
The feedback about this stone is amazing, many people are attracted to it compared to other stones of the painting and ask constantly what kind of stone it is. Why would that be?Why does the stone fall in this position within the foundations? Does it symbolize the rarity of Jesus’ blood? Only 60 pounds of this rare stone was ever mined!
(This gem is typically heavily included, opaque, and the faceted Gem is very expensive. You could expect to pay $20,000 to $25,000 for a one (1) carat Red Beryl; RED EMERALD!)

EMERALD (RED) BIXBITE

SARDONYX
Blood (red blood cells and yellow plasma)
The blood is now fading from red to orange.

SARDONYX (Red Orange Transition)

SARDIUS
Carnelian-pure ORANGE transitional stone into the remaining rainbow. The second color of the rainbow.

SARDIUS-CARNELIAN

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CHRYSOLITE-Beryl. Heliodor-golden, the streets of the New City are also gold like glass. This is the separation line between two messages.

CHRYSOLITE (Beryl-Golden)

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BERYL
YELLOW

BERYL (YELLOW)

TOPAZ
Green

 

 

 

TOPAZ Green

CHRYSOPRASUS
Chrysoprase BLUE…rainbow blue (teal) reference the rainbow.

Chrysoprasus-Chrysoprase Blue

JACINTH
Hyacinth in ancient times and Hyacinth is Sapphire.
Sapphire or mixed Zircon (red/blue) INDIGO

 

 

 

JACINTH (HYCINTH-Sapphire Blue)

AMETHYST
VIOLET

 

 

 

AMETHYST Purple

The New City built by GOD will shine in the image of God’s glory (as noted above-the “shine”) as Jesus’ blood flows to let us never forget the sacrifice he made. The blood separated by the golden division line from blood to the seven (remaining five) rainbow colors in their correct order, of a promise of God’s love.

RAINBOW-A promise!

 

THE REVELATION PAINTING
Please note the most of the stones mentioned have a spectrum of colors, which exhibit fading and transitional properties from one stone to another, therefore one color of the rainbow to the next, e.g. A Ruby may be represented in pink to red in various shades and a Topaz can range in the green-blues, among other colors. Amethyst can be seen in darkest purple to violet to an almost clear (among other colors), which could be considered blending with the clear Jasper and starting the process all over again.
CONTACT: inquiries@therevelationpainting.com

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THE SITE IS UP-Please comment!

Come see the progress!
http://www.therevelationpainting.com
You are the first to see it.

A very large piece of  The Four Horsemen scene will be on the site by January 31st!  It can be found in the photos and there will be a blog about it describing the making of this section.  Hope to see you there! 

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The Revelation Painting ©

©PLEASE NOTE THAT THIS IS INTELLECTUAL PROPERTY AND THIS BLOG, SUBSEQUENT BLOGS AND THEIR CONTENT IS COPYRIGHTED INFORMATION. USE OF THIS INFORMATION IN REPRODUCTION or ANY OTHER MANNER CONSTITUTES COPYRIGHT INFRINGEMENT AND IS A CRIME PUNISHABLE BY LAW©

THE REVELATION PAINTING

Inspired from a childhood experience, The Revelation Painting has been an 15 year endeavor to not only create a magnificent and historical work of fine art, but to use worldwide effort through the use of natural resources in creating the painting-the first of its kind. Precious and semi precious gemstones were gathered and crushed into shards for Scene VII of the painting. In collecting the stones from all over the world, their beauty shed an illuminating light on the people and cultures who build their homes and lives upon such beauty. In admiring the stones one begins to admire the people and their culture striving for an exposure unlike any other creating a kind of visual and artistic peace around the world!

The Revelation Painting is a massive work of art measuring 12 feet by 40 feet with seven magnificent scenes. Thirty canvases 48″ X 48″ are required for the creation of the painting. The canvases are 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 history in the making!

The Revelation Painting has been in the works for 15 years and is scheduled for release in December 2012. 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. Fifteen years were 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 OVER $140,000.00 of gemstones from around the world, among other things commonly not seen in fine arts. 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 it’s origin related to the painting. One of the mysteries of Revelation have been uncovered in this section of the painting!

The other six journals are:
The Journal of Dreams
The Journal of Visions (which includes the last year of the making of the painting as in a diary format)
The Journal of Measures
The Journal of Sketches
Truth-The Hemorrhage of Pigs!
Journal of Acknowledgement, the most important journal in the series acknowledges the participation no matter how great or small toward completion of this masterpiece. It discloses not only personal contributions but information provided by the contributor and advertising if desired of their businesses, personal information, a message to the world, dreams and aspirations. Essentially whatever the contributor wants to say to the world!

Scene II GOD measures 14 feet by 9 feet and is alive with color and energy, moving on the canvas and illuminated. As the audience becomes hypnotized by the sparkle and light, the painting begins to bleed before their very eyes: Truth-The Hemorrhage of Pigs! A hidden mystery is disclosed, then the painting returns to the beauty of brilliant, white light and energy!

Over $2500.00 of high quality acrylic paints were used to create the Devil due to his remarkable, highly textured reptilian skin. Real gold was used in various areas of the painting! Human hair on some characters for realism embedded and combed into the heavy lacquer becoming a part of the painting forever. A mystery of religion and humanity is revealed within the Four Horsemen which will be disclosed later in the blogs to follow!

Please subscribe to the blog for regular updates. The painting will be shown via live webcam in mid (est., June) 2012 with the artist working on it…THE FINALE. There will be scans of the work and updates of all aspects of the wonderful creation starting in January 2012. 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 note that all aspects about the painting will be blogged including but not limited to: Letters written soliciting sponsorship and/or investors, auctions, advertising of the painting, in addition to specific blogs related to the making of the painting. You will not be solicited but will have access to where the areas of participation are offered such as having your name embedded in the painting as a crusader of good in the visible but invisible battle of good and evil which is occurring right before your eyes!
It is exciting, original and Revelation is Rising!

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Introduction

INTRODUCTION:

THE REVELATION PAINTING

La Pittura di Rivelazione

 

The Revelation Painting was inspired from so many sources throughout my lifetime including the “Old Masters” and their impeccable styles.  The most prominent inspiration beyond a doubt was my mother, Mary Ann.  She was also a very talented artist who put her painting on the back burner in a sacrifice to be a wife and for motherhood and for that I am grateful.  Within her motherly love, she instilled within me a powerful imagination giving me the ability of vision and creation.  My mother ignited the passion of The Revelation Painting mainly through something that happened to her when she was twelve years old; an event that changed not only her life but also mine as her daughter.  Sometimes we receive more than genetics from our parents; we receive the seeds of dreams and through those seeds, gemstone foundations become a magnificent and massive painting!

 I cannot say that I am religious, but I am learning to find my own answers.  The Revelation Painting and 12 years of its creation have offered insight beyond what I could have expected to receive from even formal study.  There was one white bible in our home and it was my mothers.  Although I had spent countless hours trying to read it from the beginning, I returned to the Book of Revelation.  Visual imagery of creatures with six wings covered with eyes, locust with men’s faces, woman’s hair, golden crowns and tails like scorpions overwhelmed my imagination.  Although I found my heart, pounding often times, it was not in fear of what I was reading, it was the image I conjured up through imagination and its glorious power often times carrying me to sleep on the back of a horse with a head like a lion!  My love for the visuals was very inspiring.

Becoming an adult, I began to realize the natural resources of the world and their unsurpassed beauty, which cannot be mimicked even through  science, such as a true rainbow during a soft rain, the blue to violet hues within a red ruby, and the sparkle of a human eye filled with innocence, fear or sorrow.  I began to develop a sense of humbleness while searching for the gemstones that play such a critical role in the New City of this painting.  I saw humanity crushed by diamond thieves, the life, spirit and passion carved from people’s hearts, and in countries where the citizens should be living like kings of the earth due to the natural resources they sleep upon, children are starving to death!   The Revelation Painting developed into a global endeavor through the stones of the New City and the new world it represents.

In creating a global endeavor, I felt it appropriate to utilize as many languages as possible in subtitles of the painting as well creating a sense of unity.  The effort was to pull as many cultures, races, ethnicities as possible into the painting even offering messages in forward, backward and hidden formats within the painting.  People across the globe were and continue to be offered opportunities never seen before to become a part of the painting, of history in the making.  Never before has an artist offered humanity to become intertwined within his/her art as it is being created.  It is an exciting endeavor!

 

  

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JASPER

 

 

 

JASPER a quartz as clear as crystal

  

  

JASPER

THE FIRST FOUNDATION OF THE NEW CITY-SCENE VII

Personal Note:

Please note that the information listed is derived from many sources and research regarding the stones is ongoing.  It is difficult to use information of our current times when in biblical times that information may have been different (note the post regarding Emeralds when it is posted).

Obtaining the stones for the New City was my first endeavor when initiating supplies needed for the painting.  I focused on the “bible” names and nothing more.  When I began soliciting for and collecting stones from all over the world, I took their literal “bible” meaning.  Jasper is an excellent example of the confusion and controversy I began to face.

Jasper is noted to be mainly reds and browns most commonly.  There are banded and spotted in nearly all colors.  I imagined the stone used was red, perhaps banded with browns, blacks and yellow/whites as it was the most commonly seen stone with research.  There were blues (ocean jasper) which were magnificent but rare.  I wondered if the blue was the correct stone to use in order to illuminate the heavenly blue colors of God’s New City.

It was not until several years later I realized my error!  I had been collecting the wrong color all along.  I had read Revelation so many times and missed what I now understand jasper to be.  I began to research the stones from ancient times, scientifically, geologically, metaphysically and any way to develop a true understanding of exactly what each stone signifies. 

As I have previously stated: “I am not religious but I am learning”, and in that growth I tried to walk a mile in another “man’s” shoes to find out exactly what was on God’s mind when he mastered the architecture of his New City.  I imagine the plan was to mark HIS New City with HIS glory which SHINES like the sun.  What a better stone to use to crown HIS glory!

 

Referring to God and The New City from various biblical text:

• Rev. 4:3 And he that sat was to the sight like the jasper and sardine stone
• Rev. 4:6 …and before the throne there was something like a sea of glass, like crystal…
• Rev. 21:11 Having the glory of God, and the light thereof was like to a precious stone, as to the jasper stone, even as crystal… (SECOND TRANSLATION: …having the glory of God.  … brilliance was like a very costly stone of crystal-clear jasper.)
• Rev. 21:23 And the city hath no need of the sun, nor of the moon to shine in it.  For the glory of God hath enlightened it, and the Lamb is the lamp thereof.

 

 

FACTS REGARDING JASPER:

• Quartz is divided into two types:
• Macrocrystalline-Crystals are visible with the unaided eye.
• Cryptocrystalline-A microscope is required to see the individual crystals.
• Jasper is quartz of the cryptocrystalline type that can be of two distinct types; micro granular and fibrous.
• Quartz makes up 12% of the earth’s crust. (ODDLY ABUNDANT-REMEMBER THAT WHEN READING ABOUT THE STONES IN VARIOUS BLOGS.  A MYSTERY OF REVELATION WILL BE REVEALED IN THE BLOG SHORTLY BEFORE THE PAINTING IS UNVEILED 12/2010 WHICH WILL CHANGE HISTORY~!)
• As the most abundant mineral on earth, quartz and jasper are found all over the world.
• Jasper is often multicolored, banded or spotted and is commonly found in reds and browns.
• Has long been used as tools for hardness; spears and axes.
• Helps cure liver, intestinal ailments, stomach, gynecological, and cleanse the body of toxins.
• The stone was once believed to cure insanity with God’s help, and heal demon possessed.
• Egyptians placed amulets on the deceased as jasper was believed to create a safe passage in death.
• Protective, calming, offers stability, and balances the emotional and intellectual.
• Known as “the great rain bearer” in the fourth century.
• Origin of the name Jasper is Greek: iaspis.
• Brings happiness, aids in sleep, protective properties.

Major sources of Jasper include:

Venezuela, Germany, North Africa, Brazil, Canada, United States, Madagascar, Russia, Ural Mountains, India, Sicily, France, Egypt, Uruguay, Australia, Kazakhstan 

 
More information and addendums will be added as discovery occurs.

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SAPPHIRE

 

RUBY-Red Sapphire (translucent)

 

 

SAPPHIRE

RED SAPPHIRE = RUBY!

The Second Foundation-Scene VII

 

 

As noted in the first blog of the stones, the meaning the stones used to create The New City holds within them a mystery of Revelation which was discovered while crushing the stones.  This mystery will change history and religion as we current understand them related to Revelation, it is history in the making!  Please note that in ancient times stones were classified differently than today and were not a separated family with different names as we see today.

 As noted in the first blog about the stones, research is ongoing regarding the stones, their dates of origin, name origins, when and/or if they became classified as separates from their original families due to color or other contributing factors.  Sapphire is a stone which has numerous separations as you will see in the Jacinth blog.  Once all blogs have been written it will become apparent that the current classifications are what ultimately changed the meaning.

 Sapphire is corundum and is currently (in modern times) the non-red variety of corundum, the second hardest natural mineral known to mankind.  I have not been able to distinguish when in time the color separation of corundum occurred other than the given name was used in the 19^th century, and when the red sapphire became classified differently from the corundum family.  The red variety of corundum is Ruby – all other colors became called sapphire, even pink.

RUBY-red sapphire (translucent)

 Corundum in all colors is known as sapphire except the medium to dark red tones which in modern times characterize ruby.  Sapphire is commonly known as blue yet colors which make up this family of mineral, when applied correctly include yellow, brown, green, black, purple, orange, pink, colorless, and ranges within those colors.  Although this blog is about Sapphire or Ruby, it is worth mentioning the stone Jacinth was Hycinth in ancient times, which is Sapphire.

 A one carat ruby can range in price, according to color, size, clarity and cut to over $10,000.00.  The quality makes the difference and the bigger the stone, the more it is worth.  For example, in 2008 in Geneva through Christie’s (auction sale) a ring “The Graff Ruby sold for $3,647,480.00 which per carat was $425,000.000.  Rubies are often times worth per carat, more than diamonds…Amazing!  

 The Revelation Painting requires  gemstones crushed into shards including rough and faceted where appraisals were not obtained beforehand.  I do not know if the rough gems I crushed wher in fact worth $425,000.00 per carat or not.  It sounds ludicrous but the message of the painting in my eyes is worth far more than a monetary value.  A simple personal philosophy is that I cannot take this painting when I leave the earth, but I can take the impact it made upon the world!

Rough Ruby

 

 Also, some faceted stones from Thailand and other Asian countries were lead glass filled which is considered “enhanced or treated”.  Although still ruby, flawed, it is a process where the natural feathering or flaws within the stone is lead glass filled which eliminates the flaw and adds weight to the stone.  Sellers are supposed to disclose this process but do not readily do so.  The stone after time returns to its flawed state.  In the painting, although thousands of dollars worth of rubies were used, some were “enhanced”.

 The spiritual meaning of ruby includes wisdom related to spiritual matters, confidence, helps to focus concentration, offer contentment and peace, and is commonly known as the stone of life and energy.  (As in the Jasper blog, please remember-LIFE and ENERGY as it relates to the uncovered mystery of the stones in the foundation of The New City).  The ruby is considered the most powerful gem in the universe!  The gift of ruby symbolizes friendship and love.

 Rubies are found in many parts of the world and have been mined for centuries.  Burma is the main source for the finest rubies but in recent years very few quality rubies have been found.  The finest ruby color is known or described as “pigeon’s blood”.  Other areas where rubies are mined include:  Kenya, Greenland, Tanzania, Vietnam, Nepal, Thailand, Cambodia, United States, Tajikistan, Afghanistan, and Pakistan as well as other locations.

 The name ruby was derived from the Latin word ruber which means simply “red”.

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Dreams 07/1998

Dreams

This blog is copied from The Journal of Dreams. One of seven journals to be published after the painting’s release in 12/2010. A time investment of twelve years will be complete at that time. The Journal of Dreams begins in July 1998 after awakening from deep sleep July 13Th, 1998 and realizing night was filled with dreams of The Revelation Painting.

July 12Th, 1998

Today is my mother, Mary Ann’s birthday. She seemed somewhat sad earlier on the telephone talking about a project she was working on and asked for my help.  I obliged knowing it would be a futile effort this time as it had been for the past 10 years. She had been tied up working feverishly on Spindletop, Texas and her belief our family was the original owner of that land. Although we had been down the road to Spindletop many times in the past, I felt obligated to help her, to give her hope in her desolate life deep in the West Virginia mountains.

Mary Ann

She is a very skilful, self-taught painter but has lost her desire to paint in the past years becoming consumed by isolation and depression. I remembered her telling me once that when my youngest sister left home, she would have no reason to continue life. My sister had moved out some time before. When my mother said that, I gazed deeply into her blue eyes for any sign of untruth and it was not there. She was telling me that she would die of loneliness whether from a broken heart or suicide, it was clear that she was serious.

Whether the Spindletop endeavor was a delusion or not, Mary Ann was my mother and not only did I know what she meant by stating she would have no reason to continue life, I knew that focus on Spindletop would create a kind of child in the house she so longed for, missed, and it would ultimately save her life. Nearly everyday I called her and talked about Spindletop and the information I had found in the libraries, Internet, and other sources. It kept her busy and that kept her alive.

There were three things that would fire up passion in my mother; Spindletop, talking about her paintings, and asking her to relive the story of her death when she was twelve years old. We had talked about Spindletop for months, then months became years, and for some reason, perhaps because it was her birthday, today the topic was shifted to “the story” of her death at twelve. Although I had heard the story many times growing up, each time it was retold and relived was like the first time.

This is the seed of The Revelation Painting and I am convinced of that beyond any doubt. When Mary Ann told the story of her death in such artistic detail and emotion it was like I had been beside her and saw every detail. I asked my mother to tell me the story and she eagerly agreed. Her voice softened as she began to remember, like the humble and respect of being given another chance at life. Her voice was as it had been when I was a child and she was about to tell me something about life that demanded full attention. She began to speak.

“It happened when I was twelve years old. I was laying beside my mom in the bed when all the sudden I felt like I couldn’t breathe. No air would move in or out, I was suffocating! I tried to move and I couldn’t, I tried to yell out to my mother and I couldn’t. I was going to die and I knew it. I was afraid and began to panic. My heart was pounding, my eyes were wide open and just when I thought I could not take it anymore a feeling of calm came over me. My eyes closed and I didn’t have to breathe any longer.

The room became bright. I sat up and I looked for the source of the light to find shiny, golden stairs at the foot of the bed, illuminated and so clean. The stairs were long, so long that I couldn’t see the top of them. Something made me go to them, I had to see where they went and I knew I was supposed to walk up them. Upon stepping on them and walking up it was like I didn’t have to try, almost like floating. My feet touched them but I didn’t breathe hard, I don’t think I had to breathe anymore.

When I got to the top, there was a man dressed all in white standing before a beautiful pearl gate. His skin was golden. Not a white man, not a black man but something between like golden brown. He had piercing green eyes but his face was friendly, I knew he would not hurt me, he glowed of love and peace. The gate was closed but I could see through. The floor was shiny like glass and the glare of the shine was so brilliant I could not see if it was translucent or any color, it was just so shiny clean like the glare on glass.

All of the sudden the man said: “Where have you been?” in a startling voice! I didn’t know what to say. I didn’t know what he meant, I hadn’t been anywhere. I didn’t answer, he opened the gate and said in a hurried voice: “Hurry up, he’s been waiting for you!” I felt as though I had to hurry and stepped through the gate. He said: “You shouldn’t keep him waiting.” I remember thinking: “Who?”, but then my attention was drawn to so many people to my right side dressed all in white. A feeling of love, warmth and happiness overwhelmed me.

I tried to see their faces and although I knew them, I couldn’t see their faces. I knew that they loved me and were happy to see me. Hundreds of people and I could feel their love. I don’t know how long I stood there when the man said: “Come this way, he is waiting.” We walked to a door which I was compelled to push open and when I did, the brightest light I had ever seen nearly blinded me. I knew that if I wasn’t supposed to be there the light would have blinded me and I wasn’t afraid.

There was a man…something like a man I think. The light was so bright I was unable to make him out. His face was so bright it was impossible to see his eyes, or nose or mouth. Suddenly he began to speak and it was like thunder! I still was not scared though. His voice spoke every language at the same time but I was able to hear my language. It sounded like a creek flowing, like bubbles on the rocks…ploop, plop, doop, doop. He said: “Where have you been, I have been waiting for you?”

I told him I was with my family, my mother and he said it was my time now, I had to come with him. Feeling afraid I told him I wanted to go back to my mother and he said I had been bad. It was time for me to come with him. I tried to think how I had been bad and couldn’t think of what I had done but somehow know I had done something. I started to cry and pleaded with him to let me go back to my family. He said: “I will let you go but remember I will come for you like a thief in the night, you will not know when!”

He continued to say not to tell anyone about this until I was 18 years old. He said: “You will have three chances.” I started to ask what he meant by “three chances” and his voice became very loud and he said: “Run, run now before I change my mind!” All I thought was to run and run fast! As I was running through the door he said: “You will have three chances” and started to laugh. I continued to run through the door, past all the people and down the stairs back to the bed lying beside my mother and I didn’t tell anyone what happened.

When I try to remember back to what happened after I made it back to the bed I can’t remember anything. You are the first I told about it and I was much older than 18 before I told the story. When you were a baby and I looked in your eyes, I knew you were different. Your eyes scared me, but I don’t know why, like a bottomless pit. I don’t know what the dream meant but I know that you are different and you always have been. I knew it since the day you were born and I looked at your eyes.”

The Eye

 

In West Virginia millions of stars light the sky at night. Within them lives imagination and something comforting. Oddly enough Mary Ann lives where a creek babbles the words only she can hear. She doesn’t talk about what she hears at night in those dark, dark mountains of West Virginia where the absolute sounds of silence are often times as loud as thunder and the thunder drowns out the sounds of life and the living. Sometimes when I visit, in the middle of the night she says: “Let’s go outside and lay on the picnic table and look at the stars.”

Mary Ann is changing, or maybe she changed long ago. When a child leaves home for a time and returns everything is different. I never realized that during star-gazing with my mother there are voices within a creek flowing less than 20 feet away. West Virginia is known as “almost heaven” oddly enough. I can’t say that I have ever heard the voice of God talking to me in all languages through the bubbling and babbling crystal clear waters or that I ever realized it was just us three; Mary Ann, me and God.

Little do I know why my mother fears my eyes, it is disturbing. Her cracking voice of memory tells me that the fear of God she has within her is tied to the piercing, green eyes of the gatekeeper at the top of the stairs the day she almost lost her life.  It makes perfect sense to me. I have a feeling my eyes remind her of him and she struggles with mixed emotions of fear and love. Somewhere along the line I realized that I am one of the three chances she was offered in lieu of life, and that this painting is what she molded me my entire life for through the story of heaven and God, art and imagination.

Could it be that my mother was spared to become the messenger and her destiny was changed for the greater good of the world?  Everyone ponders existence, especially their own and when trying to see what my mother’s existence was for, I see The Revelation Painting.  When I ponder my own existence, I see the massive painting, and feel the warmth of light and energy, and know that I am one of the “three chances”.  Although still unsure of the three chances and what it truly means, I am sure that I am a valuable part of it.  There are five children, 3 sisters and 1 brother.  Three of us were born one year apart, the others some time later.  Could it be that the 3 born a year apart are the chances?  Time will tell.

July 13Th, 1998  …to be continued…

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Emerald-The Fourth Stone

 

Red Emerald-Bixbite

 

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.

Blood?

 

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.

(THIS SECTION WILL BE UPDATED as developments occur)

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Stone Crusher

 MY CUSTOM STONE CRUSHER

 

 

 

 

 

MY TOOL

 

 

For over nine years I tried to crush gemstones by various methods.  I lost many, got hit in the face many times, essentially I would consider it a very dangerous job!  Round stones become projectiles…believe me!

So I see a man on Ebay who sells gold mining tools and think:  “Wow, he might be able to design me a tool.”  The tools he was selling were far too big to crush a carat stone.  I wrote him, told him what I needed, the specifics and he made the tool by welding it, and shipped it while the metal was still hot!  He was truly what you call a “God-send”.

The tool was designed to fit flush internally with the inner base in order not to get small pieces of stones trapped in any fissure lines.  He dropped hot metal (steel) into the barrel and quickly brushed it with a steel brush to make it shiny, smooth inside.

This device is heavy, I thought it might break my scanner glass so I placed it in two scans below.  The plunger (I call it) is solid steel with a welded pipe vertically and a hollow handle welded horizontally.  It is a very powerful tool!  I destroyed some quartz (as practice pieces) in the beginning until I got the exact range to smash the stones.

The main thing I learned about using this tool is that although you are smashing very valuable stones and breaking them into shards, you still need to be gentle and respectful or when you lift the plunger, you may be left with colorless white powder!  It is also great for anger management issues~!

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Black Horse (Practice Piece)

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).

 

http://therevelationpaintingjournals.wordpress.com/

 

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Riding The Black Horse-working images 2

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-Working Images 3

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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Forward Momentum…

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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Emerald-The Fourth Stone

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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The Revelation Journals I-VII (overview)

THE REVELATION JOURNALS I-VII

©PLEASE NOTE THAT THIS IS INTELLECTUAL PROPERTY AND THIS IS COPYRIGHTED INFORMATION.  USE OF THIS INFORMATION IN REPRODUCTION or ANY OTHER MANNER CONSTITUTES COPYRIGHT INFRINGEMENT AND IS A CRIME PUNISHABLE BY LAW©

These are the journals associated in part with The Revelation Painting.

The blogs are rough drafts of sections of the journals which will be published after the painting is released (projected 12/2010).  I have chosen to publish these blogs and not keep them private as it will give the audience an opportunity to learn and grow with The Revelation Painting in this last year which I term:  The Finale’.

The blogs are in no particular order visible to you but they are being separated into their respective journals behind the scenes.  These journals hold several mysteries unveiled in The Book of Revelation from the bible which have been missed throughout history and once revealed will change history as we know it.  So you are reading history in the making!

The Revelation Painting is created for the people of the globe and for the past eleven years, people have participated in its creation.  The overall endeavor is to create visual peace in these times of turmoil throughout the world.  It is an opportunity to focus on something beautiful and designed to place the viewer in awe. 

Please see the blog about the painting at:  www.therevelationpainting.wordpress.com 

See the blog about the Journals at:  www.therevelationpaintingjournals.wordpress.com

 

The Journals included with this painting are as follows:

Journal I  The Journal of Dreams

This journal summarizes where and how the painting originated, the initial attempts at its creation, essentially the beginning of the work through its completion.  Background on the artist, past experiences, current experiences and thoughts, ideas and feelings while working on this masterpiece are captured within the pages of the journal.  It contains rare insight into an artist mind while working on a masterpiece!

Journal II  The Journal of Visions

Exploring imagination and visually preparing for this endeavor, the journal recalls where the vision arose and how it developed throughout the twelve total years required to complete The Revelation Painting.  It explores the artist views and personal battles with religion, God, the “calling” as a messenger to complete this massive religious painting.

Journal III  Journal of Measures

The Journal of Measures covers not only the grids and precise measurement required for a 12 foot by 40 foot creation, but the numbers and coincidences found throughout the twelve years required to complete the painting.  Small sketched works were required to become at times “larger than life”.  The journal is in graph form to help facilitate readability and understanding of the creative and sometimes scientific processes required to manually enlarge drawings without the aid of electronics or other artificial means.

Journal IV Journal of Sketches

Preliminary thoughts are sketched and worked through in order to create the perfect scene, exactly how the artist conceptualized the painting upon completion.  Starting often times as merely stick images, working through to the completed characters or scenes.  The journal also includes required experimentation to create a painting which would be durable enough to withstand the test of time, e.g., the effects of the raw mineral sulfur and its acidic effects on cloth canvas.

Journal V  The Stones

In depth coverage regarding the stones of the twelve foundations noted in The New City are covered in this journal.  Geological, metaphysical, spiritual and origins are also covered.  Stories about global participation in obtaining the stones are also covered.  Tools, lacquer, and very significant mystery of Revelation is disclosed in this journal.

Journal VI  Truth-The Hemorrhage of Pigs!

The artist reveals the profound change made in the painting in 2009 and how it occurred.  Where religion became political and how it forced the artist to find a way to make the painting stay in its original religious state, yet in moments change into a political piece revealing corruption and essentially crimes against humanity!  This is the climax behind the story of The Revelation Painting which will shock and astound followers of the series when it is realized that there has been a battle of good and evil within the painting the entire time!  The painting bleeds-a hemorrhage and returns to its normal state right in front of your eyes!

Journal VII  Journal of Acknowledgement

This is the journal where all participants globally are acknowledged for their participation in the endeavor and completion of The Revelation Painting.  A one page advertising area is offered (text only, no photography), to advertise business, make a statement to the world, or anything the author wishes.  Contributions can range from a comment, marketing, to sponsorship or obtaining materials.  Everyone is acknowledged, some to the point of limited ownership of a random section of the painting! 

SO COMMENTS ARE VERY SIGNIFICANT IN THESE BLOGS-THE MAIN PAINTING BLOG OR THE JOURNALS.  PLEASE EXPLORE WAYS TO MAKE THE PAINTING BETTER, OFFER MARKETING, DONATIONS, IDEAS, GEMSTONES WHATEVER YOU CAN…IT WILL PAY OFF AND AT THE VERY LEAST, YOUR SELECTED (WHAT YOU CHOSE) INFORMATION WILL BE ASSOCIATED WITH A HISTORICAL PAINTING IN THE JOURNAL OF ACKNOWLEDGEMENT!

The journal titles are written in english and subtitles of the journals as well as subtitles of the scenes of the painting are written in random languages.  The journals will be designed appropriately and with the highest hand quality a painting such as The Revelation Painting deserves and designed to last more than a lifetime.

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The Pale Horse (and the Medical Examiner)

When the Lamb opened the fourth seal, I heard the voice of the fourth living creature say, “Come!” I looked and there before me was a pale horse! Its rider was named Death, and Hades was following close behind him. They were given power over a fourth of the earth to kill by sword, famine and plague, and by the wild beasts of the earth.

— Revelation 6:7-8 NIV

Revelation 6:8 Aramaic NT: Peshitta
ܘܚܙܝܬ ܤܘܤܝܐ ܝܘܪܩܐ ܘܫܡܗ ܕܗܘ ܕܝܬܒ ܥܠܘܗܝ ܡܘܬܐ ܘܫܝܘܠ ܢܩܝܦܐ ܠܗ ܘܐܬܝܗܒ ܠܗ ܫܘܠܛܢܐ ܥܠ ܪܘܒܥܗ ܕܐܪܥܐ ܕܢܩܛܠ ܒܚܪܒܐ ܘܒܟܦܢܐ ܘܒܡܘܬܐ ܘܒܚܝܘܬܐ ܕܐܪܥܐ ܀

I have to admit that I was petrified these days regarding my discovery of the skulls and the races in my previous blog regarding the Four Horsemen.  I was sure I was wrong about the Pale horse.  In the Aramaic Bible (first translations), it states that the Pale Horse is the Green Horse.  It was shocking to me, a massive mistake in my understanding of what I read…see, this is why I have all kinds of bibles now!

… And behold a green horse, and his name that sat on him was death, and hell followed after him, and power was given unto them over the fourth part of the earth …

Odor, color changes, and bloating of the body during decomposition are the results of putrefaction. The lower part of the abdomen turns green due to bacteria activity in the cecum. Bacteria break down hemoglobin into sulfhemoglobin which causes the green color change. A formation of gases enters the abdomen which forces liquids and feces out of the body. The gases also enter the neck and face, causing swelling of the mouth, lips, and tongue. Due to this swelling and misconfiguration of the face, identification of the body can be difficult. Bacteria also enter the venous system causing blood to hemolyze. This leads to the formation of red streaks along the veins. This color soon changes to green, through a process known as marbelization. It can be seen on the shoulders, chest and shoulder area, and thighs. The skin can develop blisters containing serous fluid. The skin also becomes fragile, leading to skin slippage, making it difficult to move a body. Body hair comes off easily. The color change of the discoloration from green to brown marks the transition of the early stage of putrefaction to the advanced decompositional stages.

See the cited article here:  http://en.wikipedia.org/wiki/Decomposition

Also from Wikipedia:   http://en.wikipedia.org/wiki/Four_Horsemen_of_the_Apocalypse

The fourth and final horseman is named Death. Of all the riders, he is the only one to whom the text itself gives a name. Unlike the other three, he carries no weapon or other object (but some versions say that Death carries the scythe, symbolizing that he is the Grim Reaper); instead he is followed by Hades.

The color of Death’s horse is written as khlômos (χλωμóς) in the original Koine Greek, which is often translated as “pale”, though “ashen”, “pale green”, and “yellowish green” are other possible interpretations. The color suggests the sickly pallor of a corpse. The natural colors of horse coats that could be indicated include dun, palomino, buckskin, or one of several color variants with dilution genes.

How absolutely appropriate!  The riders’ name is Death and he is in stages of decomposition with his green horse.  Now I have to look at decomposition bodies, I have to study them and see the true colors of early decomposition.  It is amazing, the work required to create this painting.  There is obviously never a dull moment!

So the error remains close to the surface of my brain, haunting and taunting me.  I thought:  Why in the world would the Pale Horse actually be green, such an unnatural color?  Then last night I was watching Dr. G.- Medical Examiner.  She was talking about a young man who died and was decomposing earlier than normally expected.  She said:  “Decomposition turns the skin a blue-green color.”  I found myself sitting upright and at attention!  Wikipedia talks about the decomposition process and its stages.  Here is a part of it (where the green comes from):

 Putrefaction

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Measure of Skulls in Racial Identification

In effort to create precise measurements of individuals of The Revelation Painting, the study of human bone structure lead me to Forensic Anthropology.  It is imperative that I understand the measurements and calculations required to create the correct perspective of various races of human beings.  This study became extremely important in The Four Horsemen scene previously mentioned.

Based on Forensic Anthropology’s scientific calculations, the length of a man (or woman) can be measured by several bones for a relatively accurate overall height.  I used the length of the average Caucasoid male to calculate the total height and reverified by art anatomy standards.  With those two techniques applied I have calculated the height of the white horses’ rider to be 5’7″ based on his position in the painting.

The calculations based on art anatomy are as follows:
Femur (the long bone of the thigh) is on average the length of 2 heads.  In this case, the riders’ head was approximately 8″ in length (top to bottom)= 16″.  Then I used the scientific calculation used in Forensics:
Length of the femur (16″ or 2 heads)X 1.88+32=5’7″.

Now I am able to calculate the height of all riders not only based on their position and persective, but also the base caculation of the white horses’ rider!  Therefore, all measurements will be scientifically correct.

 

The face of the rider will be designed around the general skull shape.  This is what lead me to discover the calculations required for accurate perspective in this massive design.  The bottom of the sketch exhibits the “general” layout of the horses’ areas in this scene.  In the upper left the white horse was estimated by the size of the area it will occupy, then sketched loosely to get an idea of the head size, as noted by the numbers to the left 1-4 (which are feet then unmarked in inches-estimated).

The entire page length of this sketch was suprisingly 8″, the exact size of the skull.  This gave me a raw look at the size of the head which is close to actual human size.  The white horse is the furthest back in the painting…he is receding.  By looking at the size of the black horses’ space and that he is the closest to the viewer, he and his rider will be over 9′ tall…IMAGINE!

I produced an error in the initial calculations.  I was under the impression that the scientific calculation made the length of the femur itself and calculated initally on that finding (in black), then I “saw the light” (in blue) and correctly calculated the length.  Through my research, ancient men used to be shorter in stature than they are now in modern times, so his total height is most likely correct for his time.

Please examine the sketch and if you see ANYTHING you would like to bring to my attention, please do so.

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Scene I Jesus and Joseph

In this scene (Scene 1) Joseph is in “the spirit” and is not seen.  Jesus is before him telling him to write the things he sees.  Jesus holds within his hand 7 stars.  Originally I had Jesus standing forward and stiff, when actually he should have been facing GOD who is captured in Scene 2 above and to his right.  I also needed to measure through the human skeleton his actual body proportions as noted below.

Now Jesus is turned toward GOD holding the 7 stars and they are uplifted toward GOD as they represent the seven churches.  He also stands among 7 candlesticks which represent the 7 spirits.  There are 24 elders in the background here although they are mentioned in Scene 2.  I added them for substance within Scene 1 as Joseph is not visualized.  They represent the unity or transition of Scene 1 to Scene 2.  For better understanding, please read the beginning of Revelation and you can imagine the scene.

Blue indicates the skeleton, red and pencil, the robe.  Jesus’s face is illuminated by the presence of GOD, as well as how he is described.  It is very difficult to turn written text into visual art.  I do not know the race of Jesus, his skin color, or any other details beyond those written in Revelation where he is described as follows:

 

 ¹²Then I turned to see the voice that was speaking with me. And having turned I saw seven golden lampstands;

 ¹³and in the middle of the lampstands I saw one like a son of man, clothed in a robe reaching to the feet, and girded across His chest with a golden sash.

 ¹⁴His head and His hair were white like white wool, like snow; and His eyes were like a flame of fire.

 ¹⁵His feet were like burnished bronze, when it has been made to glow in a furnace, and His voice was like the sound of many waters.

 ¹⁶In His right hand He held seven stars, and out of His mouth came a sharp two-edged sword; and His face was like the sun shining in its strength.

 

The only part of Jesus’s skin which would be exposed is the hands, but if they are together the glow of the stars which will be illuminated through fiber optics will drown out the color of the skin.  The face will be illuminated through paint and not fiber optics.  As brighter white placed on paynes grey would create the light of a window in the darkness…illumination with merely ghostly facial features.

The candle sticks are also difficult.  Can you imagine how many kinds of candlesticks there are?  Tall ones, short ones, fat ones, skinny ones, every color of gold…pale, shiny, ornate.  It seems an easy task, but is not!  I have decided to use ornate, golden candlesticks with 24K gold leaf.

Please examine the scene and offer suggestions.

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Scene II God-The Four Living Creatures

The Four Living Creatures
(Working Images) 

 

And before the throne [there was] a sea of glass like unto crystal: and in the midst of the throne, and round about the throne, [were] four beasts full of eyes before and behind. And the first beast [was] like a lion, and the second beast like a calf, and the third beast had a face as a human, and the fourth beast [was] like a flying eagle. And the four beasts had each of them six wings about [him]; and [they were] full of eyes within: and they rest not day and night, saying, Holy, holy, holy, Lord God Almighty, which was, and is, and is to come. (Rev. 4:6-8)

 

This is an important part of The Revelation Painting for me.  I believe I have been drawing eyes my entire life for this!  Although I remember trying desperately to draw these creatures when very young, I could not master it.  Giving up on it for many years, again, here I will try to recreate what I have seen related to Revelation 4:6.

My main problem here are the bodies of the creatures because the bodies are not mentioned.  In order to paint the portions mentioned; the faces-A lion, calf, human and eagle I will paint those images but make the fiber optics of GOD and the brilliant white light shine into their chest where the bodies nor the feet will show.  

   

As you can see at the bottom tips of the feathers, detail work will be required to make the feathers match and not appear as though the creature has been “ruffled”.  It is imperative to pour lacquer into and on the scene when it is complete to decrease opportunistic decay from underlying air bubbles over time.

   

The face of the eagle is a rough sketch.  Research is required to make it appear realistic.  I sketched the head in all different directions and felt that the eagle, since he is the end creature would look best if he were looking out at the audience.  His eyes will be larger and yellow/gold.  

   

The texture of the feathers are seen here.  One thing I learned in painting the sky in the earlier blog was that the texture is forgiving.  If it is highlighted as above but not appealing, you can highlight it in a different color or tone to pick up more detail as long as the paint is thin.  The thicker, the more it takes away the depth.  

   

Eyes will be basic painted color, then detailed with colored pencils and spots of light added.  I thought about other types of eyes, from animals, birds, and fish but will stick with humanistic eyes with various sized pupils.  I once read that artwork is more appealing if the pupils are larger but will not follow that rule today, at least not for the eagle because his pupils are relatively small.   

Please watch for progression blogs to follow.
 

  

 

 

 

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Tools required in the painting-PAINT

Acrylics are my paint of choice.  I paint fast and the number one reason is drying time.  Often times I blow dry my work as I paint.  Oils are magnificent but offer a burden for me in control.  The oil is slick and difficult to control especially for detailed work.  I painted one oil painting in my life and what should have taken a couple of hours, took over 3 weeks to dry!  The modern acrylics of today in my opinion, offer the richness and brilliance in color like oils.

Pigments are mixed with various clear lacquer and other mediums.  For The Revelation Painting some pigments include minerals, tree barks, fruits, flowers, or plant parts.  Minerals are also used to create vibrant, color fast scenes.  All paint applied is UV protected and the painting upon completion will be sealed with a UV protecting clear coat which is the substance used to seal cars!  This will create gloss and durability in effort to create a magnificent work of fine art which will withstand the test of time. 

All of these are important aspects of creating art.  UV protecting prevents yellowing over time.  Archival canvas with limited acids were specifically chosen for this work.  I do not use gesso as a primer and have been known as a paint waster.  I prefer to build the color through layering for a solid pigment, and a rich finish.  Some of the painting will have an instant coffee “wash” applied for antiquing techniques. 
As stated in previous blogs and information about this painting, there are never seen techniques used in the creation of the work.

My favorite all time paint is Golden Fluid Acrylics.  They are the thinner version of Golden Heavy Body paints, which are my second favorite paint.  I paint with much control and attention to detail.   Abstract work is difficult for me as I have not learned how to “let go” of tight lines.  Although I may think outside of the box, I have not yet learned how to paint outside of the box.  Much effort and consciousness is utilized to bring fluidity and flowing lines to my work.  Although it is a difficult task, I strive to “open” my paintings which finding the balance between detailed control and the freedom of expression. 
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The total estimated cost of the paints used in this painting is well over $35,000.00.  Please note that the paint comes in 1 ounce, 2 ounce, and 1/2 ounce vials.  Imagine 12X40 feet and an ounce of paint!  The average price of any one of these paints run from $4.50-$15.00 or more depending on the series and/or color.  Actual 24K gold flakes are used in some scenes which also adds a hefty price tag to the piece.  Texturizing is very important and where layers and layers of real paint are used in lieu of texturizers and molding, the actual cost of paint becomes astounding!

For example, the highly textured Devil in this painting was created by large “dabs” of paint, left to almost dry, then gently and specifically pressed causing a realistic reptilian skin.  Wax paper is used to prevent pulling of the nearly dry paint leaving holes.  The Devil required nearly $2500.00 worth of the most expensive red and orange hues. (Reds are usually higher priced).  The “dabs” pressed measure vertically 2-4.0 mm which is thick for paint on canvas.  Underlying browns were used for contrast and depth perspective, as well as swirled into the reds and oranges in effort to created texture within texture. 

Scene 2-God required various layers of the most luminescent white paint and mica to provide a glow unseen anywhere else in the painting.  Great care was taken and careful consideration regarding the second scene within the scene of God;  Truth-The Hemorrhage of Pigs!, where the bright white was repainted with thermochromic paint to create the red hemorrhage.  The high risk of yellowing overtime and temperature change will require specific retouching over time and the directions specific to the retouching techniques will be written on the back of those canvases. 

In addition to the mentioned acrylic paints and custom pigments, I will also be using Liquitex products which are also higher quality acrylic paints.  Those of you who know paints, know the quality of these paints and for those of you who do not know paints, here is some information borrowed from the Golden website:

http://www.goldenpaints.com/products/color/fluid/index.php

GOLDEN Fluid Acrylic Color Lines

Fluid Colors Fluid paints contain near the same pigment strength as Golden Heavy Body colors in a pourable, low viscosity formula. Fluid Iridescent / Fluid Interference Familiar for their radiance, GOLDEN Iridescent Colors produce a luster by themselves, with other colors, or mixed with mediums. GOLDEN Interference Colors offer a unique “flip” when viewed from different perspectives. Historical Fluid Acrylic Hues GOLDEN technology uses contemporary pigments to create hue combinations of these traditional colors; combining the integrity of the past with today’s requirements for quality, lightfastness and safety. Matte Fluids Provides a uniform flat finish in a wide variety of concentrated colors. Fluid Acrylic Colors Fluid Acrylics are highly intense, permanent acrylic colors with a consistency similar to heavy cream. Produced from lightfast pigments, not dyes, they offer very strong colors with very thin consistencies. No fillers or extenders are added and the pigment load is comparable to GOLDEN Heavy Body Acrylics. Unlike mixtures of heavy-bodied paints and water which produce weak color and films by dilution, Fluid Acrylics contain high pigment levels suspended in an acrylic polymer vehicle. The result offers fine dispersion, high tinting strength, durability, flexibility and good adhesion. Fluid Acrylics are ideal for spraying, brushing, staining, and can be mixed with other GOLDEN Products. Blend with Airbrush Medium for spray application. Excellent for fabric application. Please see the colors on the website.

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The Four Horsemen (Working Images)

 The Four Horsemen-beginning photos

See:  http://photos.therevelationpainting.com  for finished work.

Working images of The Black Horse.  See www.therevelationpainting.com for more photos and blogs regarding the work.  http://photos.therevelationpainting.com

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The Four Horsemen(Working Images)

Please note that you will have to keep coming back to this blog as it is edited with new images throughout the next few days.  The text will remain red until the blog is complete letting you know it is still a working image.  Please feel free to rss for updates as they are posted.  These are cell phone images, sorry.  Thank you

 

The Four Horsemen

My studio space only allows four canvases to be placed together at a time.  This is where the Journal of Measures (an Numbers) comes in handy.  I can look at the general layout and know how much space I have to work on a piece of the painting.  Last night I placed four canvases together and drew out the sketch from The Journal of Sketches.  As I mentioned before, horses are my weakest area.  After countless attempts, I feel satisfied with The Black Horses head, yet it still requires a lot of detail.  The body though, currently has eight different legs!  I will have to decide on the legs I want a little later.  The Pale Horse is around 2 feet tall and The Black Horse around 7 feet tall!  The horses are marching forward, that is why the same leg (right front) is lifted in both horses as they march in a uniform manner.  I may lighten The Black Horses eye a little later.  The decision to make the horse standing toward the viewer seemed the best direction.
GENERAL SKETCH (Still creating this scene):

The Black Horse’s chest is centered between four canvases.  There is a reason for that, it is the center of attention in the group of four.  The Pale Horse is the next, The Red Horse (not pictured yet), then The White Horse in the distance (not pictured yet).   

 
 

 

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Dr. Martin Luther King and The Black Horse

Dr. Martin Luther King and The Black Horse

We spoke earlier about The Four Horsemen representing races of people and I mentioned that if, by chance these horses represented spaces of time as well that we would be currently living in The Black Horses time.  I had chosen Dr. Martin Luther King as the rider of The Black Horse simply because the literal sign of the times is focused on equality of some proportion-civil rights, worker’s rights, veterans rights, equal rights, smokers rights, gay rights, womans rights, unborn rights, etc…

Rev 6:5  And when he had opened the third seal, I heard the third beast say, Come and see. And I beheld, and lo a black horse; and he that sat on him had a pair of balances in his hand.

The Black Horse carries “the balances”, or scales and scales measure equality.  Used as an icon in the courts, it would seem that the balances also measure justice, as in “the scales of justice” where evidence is weighed.  Appropriately we have also learned that on “Judgement Day” when the book of life is opened, we will be accountable for the deeds of our life whether good or bad.  Could it be that good and bad will be measured by balances?

Back to equality.  Dr. Martin Luther King is an icon of equality.  He not only fits the race required for The Black Horses’ rider, he also fits the cause: Equality.  It is only appropriate that he is The Black Horses’ rider.  The role is too significant that he played in changing the world to ignore and should be illuminated, thus never forgotten.  He was the father which birthed modern day of battles dealing with equality in any manner.  Numerous hours were spent sketching Martin Luther King.

Many sketches will be in the Journal of Sketches.  Roughly the first sketch and final painting are revealed here in this blog.  Martin Luther King is nearly completed here:

 

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