disturbing art

Elena Dudina – Horror & Fantasy Digital Artist

October 2, 2015 By Horror Palace 2 Comments

Elena Dudina is our currently featured dark artist. She classifies herself as a Photomanipulator/ Illustrator. We think you will agree Elena really knows how to “manipulate” her photos – so much so that we classify her work as “art.”

Elena was born in Russia, the daughter of a fighter jet pilot. As such, she moved around frequently and spent her childhood and youth living in various places from Latvia, Ukraine and the Artic – even living seven years in Siberia.

Since early childhood, Elena has always drawn and painted. In 2004 she began expanding her art to sculpture, but it was in 2008 that her art career would take a dramatic new direction – she was introduced to Adobe Photoshop. Since then the digital art realm has become her full time passion. Elena has gone on to create many works of digital art, many of which have been featured on book and CD covers.

For more of Elena Dudina’s art please see:
ElenaDudina.com
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“Into the Unknown” by Nightfrost

June 25, 2015 By Horror Palace Leave a Comment

“Into The Unknown” is by developing artist/illustrator NightFrost. Here the unknown produces a huge beast with fierce fangs and horns. The blue tone gives the feeling of deep night while the highlight draws you into a stare down with the beast. The blood dripping down from the beast’s mouth and fangs is almost gooey like it is beginning to coagulate.

See more art by Nightfrost: The Frozen Art World

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(image used by permission of Artist)

Massacre of the Innocents by Peter Paul Rubens

May 30, 2015 By Horror Palace Leave a Comment

There have been many versions of the “Massacre of the Innocents”, but none of them compare to the grotesque scene painted by Peter Paul Rubens. Nicholas Poussin, Giotto di Bondone, Guido Reni and even Peter Brueghel the Elder showed the world their interpretation of the nightmare, with each being a masterpiece on its own. But the version that materialized by the Flemish Baroque artist during 1611 – 1612 gained the most popularity. In 2002 it was sold to Canadian businessman Kenneth Thompson for $117 million (Canadian) and donated to the Art Gallery of Ontario.

The Premise of the Painting

The biblical story about King Herod sending out his soldiers on one fateful night to slaughter infant boys under the age of 2 has been heard by many. With the hope of murdering the potential King of the Jews, his soldiers marched into the streets of Bethlehem and without hesitation they massacred the innocent. Reading about the events isn’t a pleasant experience, but seeing such a graphical depiction of what it must have been like is even more unpleasant. All the above mentioned artists had their vision of the scenario and while all of them are horrific, Rubens took it a few steps further. Instead of just leaving a mark in the minds of those who believe in the biblical story, he managed to impact those who regard it as fictional.

Just before Rubens died he painted the massacre again. This was around 1636 and even though the paintings have many similarities they are very different. The first painting was very dramatic, whereas the second painting took on a more realistic form.

The First Painting (1611 – 1612)

One of the most accurate opinions recorded about the first painting is the link between the mothers, soldiers and children. Described as a “seething mass” due to the bodies that so graciously overlap, it is by far the best way to verbalize the visual experience. Those who have admired other works by Rubens will know that chaos was something that would typically reflect in his paintings. Combined with his dynamic style, the massacre literally flows in the street, much like the blood and bodies did.

The area that grabs the most attention is the woman in the middle. Dressed in a blood red garment, her one hand scratches at the face of a soldier while her other hand tries to hide her baby. The soldier being scratched doesn’t give her much attention as he tightens his grip on the garment of the baby she is trying to keep safe. At their feet lay the corpses of babies that couldn’t be saved. The different colors Rubens used for them might possibly speak to the amount of time the massacre has been going on. Some babies are still pink while others have turned a pale blue, a sign that they have been lying there for some time. Like a chain reaction the horror spreads from the middle to the rest of the painting.

The reason why the first painting is so dramatic has to do with the awkward body positions of the women and the manner in which the babies are killed. There is only one visible weapon and the soldier who yields it is trying to kill one of the mothers. The rest of the soldiers used their bare hands to crush the babies in the street while fighting off the angry mob. The body language of the soldiers is aggressive and overpowering, merciless and focused. Not a hint of remorse can be seen as they lift all limitations in reaching their target. In the background grieving parents and more chaos is visible.

Everything about the painting is drenched in desperation, pain and violence. Despite the beautiful detail and color, there is nothing beautiful about the subject matter. This was Rubens outcry against war, not an attempt to increase his standing as an artist. He was already living a wealthy life thanks to his reputation. This was in fact a nightmare that was meant to shock and unnerve.

The Second Painting

Many consider the second painting more graphic than the first one. Obvious differences can be seen in the blood that is flowing in the street, the weapons the soldiers are using and the intensified aggression. On the far left one can actually see how a soldier drives his sword into the chest of a baby. Below them a weeping mother lies on top of her child, who is presumably dead. The rest of the mothers are either grabbing the swords with their bare hands, hoping that their death can save their children, or trying to get back the babies that are already in the possession of the soldiers.

In the top right corner there are three angels looking down at the massacre taking place. Strangely enough, the angels look quite content. One can even say they are smiling. The reason for this is open for debate, but if Rubens attempt to curb the war he desperately wanted to end was effective then he wouldn’t have painted another version with more horrific characteristics. There were no angels in the first painting and in the second painting the holy symbols seemingly enjoy what they are seeing. Could this be a cynical view upon how religion failed to intervene with the situation? Did Rubens aim to mock those who believed God would save them?

The second painting has been hanging at the Alte Pinakothek in Munich since 1706.

Conclusion

To paint something like this requires a great level of empathy. But to paint it for a second time and to enhance everything that made it horrific took something deeper. In all its beauty and financial worth, “Massacre of the Innocents” by Peter Paul Rubens is daringly dark. Even modern horror films with the best special effects cannot reach the level of influence or pain that was created with mere paint and brushes. Paying attention to all the little details will ultimately result in a very morbid atmosphere where there is not even a glimmer of hope. The innocent who lay dead on the floor and those on their way to join them cannot be saved, nor can they be resurrected. The consequences of the massacre are permanent and the darkness from which it comes doesn’t belong to a demon we can’t see. This darkness comes from our fellow man and it is cloaked in dictatorship and religion.

It is evident that Italian painters such as Caravaggio had a great influence on Rubens while he was there between 1600 and 1608, which is visible through all the drama, color and dynamic interpretations. His rendition of the biblical tale is without a doubt the darkest and most horrific, cementing a position for Rubens on the list of great dark artists.

Rapid Fire Comedy Clown

February 25, 2015 By Horror Palace Leave a Comment

A classic clown face only visible to the victim forms the center of the picture. From the back of his head comes a glimmering light, most likely indicating the effects associated with dying. The chambers of the guns are still glowing after releasing a rain of bullets, an obviously pleasant experience for the hooded killer.

This pencil based drawing has a deliberate adolescent appearance. The fictional/cartoon style brings out the childish obsession of playing with real guns without the fear of consequence, but at the same time there is sophistication within the lines. The shadows are presented as rough and impulsive, although a deeper look reveals the strategic spacing between the lines, their singular direction and the sections where they are placed took some planning.

The basic approach and the lack of detail in the picture reveals the basic needs of the character, which is to intimidate and kill. There is just enough substance to proclaim his sick smile and insane eyes, but not enough to positively identify him in a police lineup.

Francisco Goya: The Black Paintings (Pinturas Negras)

January 9, 2015 By Horror Palace Leave a Comment

In a two story house just outside of Madrid, called “Quinta del Sordo” (Deaf Man’s Villa), a collection of 14 paintings literally covered the walls. Unlike most murals, these paintings weren’t meant for decorative purposes. Instead, they depicted feelings of anxiety, fear, depression, violence and a path leading into deep, dark madness. At the age of 72 the great artist, Francisco Goya, embarked on a disturbing journey within the walls of that two story house and from 1819 until 1823 he lived and breathed what is now known as the “Pinturas Negras” (Black Paintings).

Goya’s Motivation for The Black Paintings

By the time Goya bought the house from the deaf owner, he was suffering from various torments. Ironically, he was almost deaf himself and his health always bordered on a very dangerous cliff since he reached his mid-forties. Up until that point he had managed to survive two fatal illnesses, but the price he paid for surviving came with the haunting ideas that relapses may occur at any time. Even though he never returned to a completely healthy life, he desperately wanted to hang on to what he had left. The fear of falling back into scenarios where death had a better chance of winning never left his consciousness.

Apart from his medical condition, the turmoil in the Spanish government along with the effects of the Napoleonic war only elevated his depression. He had personal experience with the fear and hysteria that surrounded the people at that time. His artistic nature placed him in a difficult position, because this forced him to observe and absorb not just the pain he was feeling, but the pain of those around him as well. When he moved into that house he decided to make a personal gallery; a gallery that wasn’t meant to be seen by the public, a gallery to help him make peace with his personal hell. Nobody can say for sure when he started painting or if he gave the paintings titles. Their current titles as we know them were given by art historians and in 1828 a friend of Goya, Antonio Brugada, catalogued them for the first time.

The Paintings:

Saturn Devouring his Son

Probably the most famous painting of the Black Collection, it shows Saturn eating his son piece by piece. The god of gods is shown as a grotesque monster with great madness in his eyes. With no room left for remorse, his hands tightly grip the body of his son while his mouth rips off another limb. It almost looks like the tip of Saturn’s fingers have sunk into the body, making sure his son can’t get away. The blood flows freely as the body now hangs lifeless and cold.

The Dog

Behind a downward slope the head of a lonesome, black dog can be seen. However, most of the painting is an empty vastness, which
basically drowns out the dog and the slope. The true meaning of the painting is still disputed, but many believe the dog is a symbol of humanity, helplessly looking up at the sky in hopes of some miracle.

Two Old Men

In front of a completely black background there are two, very different, old men. The one with the long beard seems at peace, while the other one who looks more demonic yells into the ear of the first old man. Like most paintings from this collection, the meaning can only speculated, but the second old man does seem to haunt the first.

Men Reading

Along with “Women Laughing”, this painting is vertical and smaller than the rest of the pieces. In comparison to the rest the subject matter isn’t as dark, but the colors are. One central figure holds a piece of printed paper while 5 other men hover around him in discussion over what is read. It is believed they represent politicians.

Judith and Holofernes

Goya-Judith_y_Holofernes — Judith and Holofernes by Francisco Goya

The scene where Judith slashes the throat of Holofernes has been painted several times by different painters and it typically represents the defeat of tyranny. Even though Goya secretly hated the Spanish King, he never publicized this emotion. However, in the privacy of his home there weren’t any restrictions.

Man Mocked by Two Women

Critics believe that the two women are laughing at the male figure either because he is masturbating, exposing himself, or he is simply retarded. Some even suggest that they are smiling because they are also masturbating. The meaning behind the scenario according to critics is most likely the shamelessness of an exhibitionist, along with self-mockery and loneliness.

The Seductress

It is believed that the model in this painting was Goya’s maid and this conclusion comes from earlier paintings. With a funeral atmosphere, the model has a nostalgic expression on her face along with a sense of mourning.

The Fates

This is most likely Goya’s interpretation of the goddess of destiny, escorted by the ladies of the night. The limited use of colors represents a night setting and the scissors in the hand of the goddess is used to cut the cord of life. A figure at the back, presumably male, is bound in order to keep him from interfering with his fate.

Fight with Cudgels

Using another mythical approach based on Cadmus and the dragon’s teeth, Goya points to the policies of Ferdinand VII; creating chaos in order to find a measure of peace.

Two Old Men Eating Soup

Despite the given title, it seems that only one of the old man is actually alive. The latter carries on eating while the other looks more like a skeleton. With rapid brush strokes and great decisiveness it looks as if Goya tried to find some comfort in the company of death.

Fantastic Vision

A male and a female figure are flying above a group of people who are moving towards a mountain. On top of the mountain is a town and critics believe it’s a well-known place where Spanish liberals fled to during the war. At the forefront French soldiers get ready to fire upon the group.

Procession of the Holy Office

This piece shows a pilgrimage by crippled and sick people, led by holy figures. They are on their way to St. Isidore in hope of finding a cure for their illness, but as can be seen in the expression of the figures at the forefront, many are skeptical that the pilgrimage will be successful.

The Witches’ Sabbath

The devil stands before a group of fearful witches and he takes the form of a goat dressed in typical clerical clothing. His mouth is wide opening, screaming at the covenant before him. Critics believe Goya symbolizes the king in his “The Junta of the Philippines” where respect was forced and not earned.

The Pilgrimage to San Isidro

Thirty years before he painted the black collection Goya painted “The Meadow of San Isidro”, and this is considered the exact opposite. Where once the image was colorful and joyful, it’s now filled with characters that seem drunk and disfigured. As the groups disappear in the background they become more dehumanized.

For about 70 years these paintings stayed within the walls of that house until they were finally placed on canvas by a curator called Salvador Martinez Cubells from the Museo del Prado, where they are now exhibited. When Goya moved out of the house and exiled himself, he never looked back on the work he left there.