l’Ange de l’Assassinat
(The Angel of Assassination) concept II
pencil, charcoal, and watercolor on paper., 15in. x 11.5in. ±38cm. x 29.2cm.
Perhaps the most detailed of concepts for l’Ange de l’Assassinat, that represents the final painting most accurately. In the bottom right, Tim Cantor has written ‘Marat’; a gesture to both Jean-Paul Marat, Charlotte Corday’s victim, and to Jacques-Louis David, who created the 1793 painting The Death of Marat, and inspired Tim Cantor to create his own composition in relation to the same tale.
Ingénue (Ingenue) concept II
oil on illustration board., 11in. x 6in. ±27.9cm. x 15.2cm.
This oil study for Ingénue was created from an initial drawing that Tim Cantor sketched at the Victoria and Albert Museum in London. The body; from a sculpture at this museum. The head-dress and concealed crest was from imagination.
Through the Waters concept III
oil, graphite and charcoal on paper,
11.5in. x 15in. ±29.2cm. x 38.1cm.
A refined charcoal study on an oil painted paper. This piece brings to light a drawing of the artist’s own hand, which, in the final painting, emanates an elaborate pattern of machinery that acts as a metaphor. Written below the hand are the artist’s words ‘I love you - These words, these days, are in everything I do.’ Perhaps a self-portrait, this concept differs from the completed oil painting. In the final, Tim Cantor has aged himself to be an older man. However, this piece shows a more youthful resemblance.
"Through the Waters" was used by Imagine Dragons to represent their song Friction. This image was used throughout the world on millions of promotional materials: billboards, posters, etc, to publicize the Smoke+Mirrors album.
The Four Seasons concept XII
oil on illustration board., 12in. x 9in. ±30.5cm. x 22.9cm.
The veil was a crucial element according to Tim Cantor. He felt the need for a balance between ethereal and actuality in his painting. Too much coverage of the expression might hide the link to a line in his poem which reads;
“...an innocent gaze in the guise of a bride.”
Yet, he still wanted her to seem somewhat ghostly, perhaps imagined, because the figure represents so many memories? So many different souls.
This piece presents a close model of where he decided was the perfect bearing of two senses.
The Four Seasons concept IV
graphite, watercolor, and charcoal on paper.,
9in. x 12in. ±22.9cm. x 30.5cm.
This concept for 'The Four Seasons' is a combination of imagination and the study of an unnamed statue in Venice’s San Vidal Church that inspired the final pose for this deeply emotional painting.
Nostalgia concept VII
charcoal on paper., 9.5in. x 15.5in. ±24.1cm. x 38.1cm.
A study of both figures within the painting that represent the past and the present. To right, you can see the subtle sketch of a similarly mooded figure that ended up in another of Tim Cantor’s paintings titled Facade. Lyrics from his poem for Nostalgia are written within this work.
This Haunted Heart concept II
oil on board., 12in. x 7in. ±30.5cm. x 17.8cm.
A refined study for the final painting, this unique concept is created in oil on a prepared illustration board. Tim Cantor scribed a line from his poem for this painting that ties his dream to spend half his time in Amsterdam, and present his paintings there.
Aristocratic Man concept VI
graphite, oil, charcoal on paper.,
12in. x 9in. ±30.5cm. x 22.9cm.
This is a refined oil study for the profile of Aristocratic Man. It is rather special to the artist. At its making, he considered it a leap in his pre-painting studies. He kept it in his studio for many years as his own example of a style - a look to his concepts that he not only used to refine his final painting, but the study held its own as a sole work of art.
Pretenders concept I
graphite, watercolor and red pencil on paper.,
7in. x 8.5in. ±17.8cm. x 21.6cm.
Pretenders concept IV
graphite on paper., 11in. x 8.5in. ±27.9cm. x 21.6cm.
Tim Cantor drew many drawings in the conception of the imaginary dragon that the female figure faces off with. However, only a few for the figure and for the fan that she holds. These are the first two that he created. In fact, the fan swayed the composition more than one might guess. The lines from it make her appear more central than she actually is within the arrangement. His first drawing of the figure, as one can see, is void of the fan, and so Tim Cantor wished these two drawings to stay together. They are offered in one frame, and considered one piece.
Note: the representation of these drawings as presented here are darkened and contrasted for publication purposes.
The original pieces are much lighter.