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Description

A study I made of Giorgio de Chirico's Song of Love.

I've been heavily reading Lautremont as of late, and of course he was the single most important literary proto-surrealist, which has had me re-interested in Breton, Magritte, and Dali.. For a while now, I have been moving towards a style resembling the original Surrealists, so I thought it necessary to steal more of their painting techniques.

In a journal entry about the art direction of Demon's Souls which I wrote to myself a while ago, I'd talked about how the first surrealist painters, such as Magritte and de Chirico, would start from a very geometric, striated, often specifically classical or medaeval-romanesque space, and then develop free associations onward from there, producing an end result which was familiar yet incomprehensible, lending an uncanny, melancholic feeling to their paintings.
I was listening to Renaldo and the Loaf's albums Arabic Yodeling and the Elbow is Taboo while drawing this, since Renaldo and the Loaf, as a band, has a sound which echoes the perspective of a lithograph depicting a sad frog with a guitar on the side of a cigarette carton, which fits perfectly for the era of Magritte, Dali, and de Chirico.

Description

A study I made of Giorgio de Chirico's Song of Love.

I've been heavily reading Lautremont as of late, and of course he was the single most important literary proto-surrealist, which has had me re-interested in Breton, Magritte, and Dali.. For a while now, I have been moving towards a style resembling the original Surrealists, so I thought it necessary to steal more of their painting techniques.

In a journal entry about the art direction of Demon's Souls which I wrote to myself a while ago, I'd talked about how the first surrealist painters, such as Magritte and de Chirico, would start from a very geometric, striated, often specifically classical or medaeval-romanesque space, and then develop free associations onward from there, producing an end result which was familiar yet incomprehensible, lending an uncanny, melancholic feeling to their paintings.
I was listening to Renaldo and the Loaf's albums Arabic Yodeling and the Elbow is Taboo while drawing this, since Renaldo and the Loaf, as a band, has a sound which echoes the perspective of a lithograph depicting a sad frog with a guitar on the side of a cigarette carton, which fits perfectly for the era of Magritte, Dali, and de Chirico.