Tuesday, July 19, 2011

The Rescuer

The Rescuer, Oil on Masonite, 60 x 43 cm / 23,6  x 16,9 inch, 2011


This painting, titled The Rescuer, has been commissioned by Pat and Jeannie Wilshire, who are the driving force behind the IlluXCon show. The painting will be used on the IlluXCon 4 promotion materials. The other two commissioned artists are Eric Fortune and Mark Zug. The original painting will be on display during the IlluXCon 4 show in Altoona in November.
Apart from being extremely kind people, Pat and Jeannie are internationally recognized collectors and historians within the genre of fantastic art. They are responsible for the creation and administration of the IlluXCon symposium of fantastic art.
“ IlluXCon is dedicated to the validation of the original painting as more than a means to an end and, through that validation, the recognition that the art of the fantastic deserves to be brought out from the shadow of literature and publication, its creators permitted to stand beside their peers in other artistic schools, and their works accepted to hang side by side with the best of all the past generations of artists…”. I love this statement! If you are not familiar with this extraordinary event, you can learn more about it on their website http://www.illuxcon.com/
As for The Rescuer, I have decided not to include any explanation of the process this time, but rather to let the picture(s) tell the whole story.











9 comments:

  1. beautiful work!

    your brushwork and color and drama never stop getting to me.

    thanks for sharing, Petar!

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  2. Now, I must to leave a comment:
    WOW!
    Teodor

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  3. How is it possible to be so good?!?

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  4. Your paintings remind me of melted candies, it give me a sweet sensations like instead of colors you use brown sugar, icecream, jelly, you name-it.

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  5. Thank you for your generous remarks, guys! Much appreciated.

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  6. Hello Mr. Meseldžija. I've followed your blog for a while now and have been fascinated with everything you create. I have always loved seeing the progress work that lead up to a finished painting. I have one question: how do you go about transfering your drawing to the board before you paint and do you then seal the board in any way to prevent the destruction of the drawing when paint is applied? Best of wishes to you and good job on yet another dazzling painting.

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  7. Hi Zachary,

    Because my drawings are often smaller than the future painting, I enlarge the drawing by photocopy. Then I copy the drawing (through the use of graphite paper) onto the wooden panel or canvas, which I have already treated with two to three layers of Gesso. I do not seal the drawing to protect it from destruction. If that occurs I look than at the preliminary drawing, which I always have beside me while working on a painting, and correct the mistake. In fact, the best way for me to correct the drawing is to do it directly in oil paint while the process of underpainting is going on.

    Good luck and thanks for your comment.

    Cheers!

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