Research: the ever-ongoing endeavor

RESEARCH--the means by which an invaluable intimacy with the subject of the work is cultivated, nurtured, and finally established--is the linchpin of virtually any artistic endeavor. This sweeping statement is hardly news to those who know me, since it has been my credo since I took my first tentative steps in historical modelling/art.

But what of non-historical modelling? [NB: by way of contrast, ahistorical modelling is that to which we have been unmercifully subjected for nearly the last decade!] Does research play a rôle in these supposedly free-flights of fancy? The answer is a resounding, "YES!" In fact, I would assuredly posit that our non-historical colleagues execute their investigative due-diligence much more assiduously--and consistently!--than we have in the last 20 years!

And why might that be? Why is it that painters and modellers--to say nothing of patrons!--of the fantastic naturally, rigorously, and seemingly effortlessly clave to the "rules" of their worlds and their inhabitants; and are incisively and vociferously critical of perceived shortcomings? I could ramble on until the vast majority of you would be bored to tears; but in a word I would say: PASSION.

But whether or not the historical figure industry's passion is at low ebb, or why, is not the purpose of this posting. Rather it is to provide the core cinematographic references being consulted in the two featured works to-date:

Curtis, James. James Whale: A New World of Gods and Monsters. Minneapolis: U. of Minn. Press, 2003.
Lanchester, Elsa. Elsa Lanchester, Herself. NY: St. Martin's Press, 1983.
Milano, Roy. Monsters: A Celebration of the Classics from Universal Studios. NY: Del Rey, 2006.

And of course, the movies themselves. As a final note, an extensive list of references, printed and on-line, have been and will continue to be consulted for the setting and groundwork of "The Mummy" pieces.