Thinking about the source of my visual aspirations, I created a composition that contained homages to my favorite artists. To begin with, I was initially inspired by the painting by Jean-Auguste-Dominique Ingres which bears the same name. That was the starting point, but I continued by unwrapping my subconscious, a practice of the young Salvador Dali. Recognizing the female form as the source of my artistic inspirations, I copied a portion of another Diego Velazquez painting: ” St John the Evangelist at Patmos”, it is bearly visible beneath the portrait of Dali. Rather blasphemous and irreverent, I was equating my visual inspirations to be as devine as those of St John. All of this was painted over one of the multitudes of ‘Obey’ posters given to me by Shepard Fairey. I can remember painting it in my dorm room, I didn’t have space or an easel, so i just propped it up on top of my drawers. This painting was first displayed at an extremely conservative University where I had to cover the ‘private parts’ with tape before it could be hung in the gallery. When I later tried to remove the tape, a layer of paint came with it. However, the effect is rather intriguing.

Thinking about the source of my visual aspirations, I created a composition that contained homages to my favorite artists. To begin with, I was initially inspired by the painting by Jean-Auguste-Dominique Ingres which bears the same name. That was the starting point, but I continued by unwrapping my subconscious, a practice of the young Salvador Dali. Recognizing the female form as the source of my artistic inspirations, I copied a portion of another Diego Velazquez painting: ” St John the Evangelist at Patmos”, it is bearly visible beneath the portrait of Dali. Rather blasphemous and irreverent, I was equating my visual inspirations to be as devine as those of St John. All of this was painted over one of the multitudes of ‘Obey’ posters given to me by Shepard Fairey.
I can remember painting it in my dorm room, I didn’t have space or an easel, so i just propped it up on top of my drawers. This painting was first displayed at an extremely conservative University where I had to cover the ‘private parts’ with tape before it could be hung in the gallery. When I later tried to remove the tape, a layer of paint came with it. However, the effect is rather intriguing.

Thinking about the source of my visual aspirations, I created a composition that contained homages to my favorite artists. To begin with, I was initially inspired by the painting by Jean-Auguste-Dominique Ingres which bears the same name. That was the starting point, but I continued by unwrapping my subconscious, a practice of the young Salvador Dali. Recognizing the female form as the source of my artistic inspirations, I copied a portion of another Diego Velazquez painting: ” St John the Evangelist at Patmos”, it is bearly visible beneath the portrait of Dali. Rather blasphemous and irreverent, I was equating my visual inspirations to be as devine as those of St John. All of this was painted over one of the multitudes of ‘Obey’ posters given to me by Shepard Fairey. I can remember painting it in my dorm room, I didn’t have space or an easel, so i just propped it up on top of my drawers. This painting was first displayed at an extremely conservative University where I had to cover the ‘private parts’ with tape before it could be hung in the gallery. When I later tried to remove the tape, a layer of paint came with it. However, the effect is rather intriguing.

Thinking about the source of my visual aspirations, I created a composition that contained homages to my favorite artists. To begin with, I was initially inspired by the painting by Jean-Auguste-Dominique Ingres which bears the same name. That was the starting point, but I continued by unwrapping my subconscious, a practice of the young Salvador Dali. Recognizing the female form as the source of my artistic inspirations, I copied a portion of another Diego Velazquez painting: ” St John the Evangelist at Patmos”, it is bearly visible beneath the portrait of Dali. Rather blasphemous and irreverent, I was equating my visual inspirations to be as devine as those of St John. All of this was painted over one of the multitudes of ‘Obey’ posters given to me by Shepard Fairey.
I can remember painting it in my dorm room, I didn’t have space or an easel, so i just propped it up on top of my drawers. This painting was first displayed at an extremely conservative University where I had to cover the ‘private parts’ with tape before it could be hung in the gallery. When I later tried to remove the tape, a layer of paint came with it. However, the effect is rather intriguing.

Posted 1 year ago & Filed under Diego Velasquez, La Source, Velazquez, painting, View high resolution

About:

Feralo is the creative portfolio of Noah Spahn. Spahn is a painter with degree in Studio Arts from Biola University, a deep interest in several marked periods of Art History, and Artists ranging from Caravaggio to Immendorf.

His work is typically a veiled glimpse into some facet of his current musings. The mediums used vary as much as their application, whilst the human form is generally the vehicle. Themes may include transcendental aesthetics or the rejection of visceral urges amidst the complexities of commonplace social environs. He has also been known to produce the occasional 'automatic painting', the interpretation of which probably lies in the realm of his unconscious.

During his 25 year career as an Artist, Spahn has worked as a commissioned limner, 3D modeler, architectural draftsman, aerosol muralist, portraitist, graphic designer, creative consultant and advertising director.