Michael Whelan

IN A WORLD OF HER OWN (2016) Acrylic on Canvas - 36" x 48" This painting arose from musing on an interview that Stanley Kubrick gave in 1968, a source of inspiration I have gone back to over the years, revisiting comments made by the director. #art

This painting served as the primary cover for Beyond Science Fiction, a graphic novel sized book collecting Michael’s major retrospective at the Riverside Art Museum. www.michaelwhelan.com/shop/beyond-...

IN A WORLD OF HER OWN (2016) Acrylic on Canvas - 36" x 48" This painting arose from musing on an interview that Stanley Kubrick gave in 1968, a source of inspiration I have gone back to over the years, revisiting comments made by the director. #art

“The very meaninglessness of life forces man to create his own meaning. The most terrifying fact about the universe is not that it is hostile but that it is indifferent… but if we can come to terms with this indifference, then our existence as a species can have genuine meaning.

FIRESTARTER (1980) Acrylic on Masonite - 20” x 30” It might surprise some fans that my first work with Stephen King wasn’t THE GUNSLINGER. We first met at the World Fantasy Convention in 1979 when we were both Guests of Honor. #bookssky #art 🪐📚

I used my niece Laina as model for the main character Charlie, seen here experiencing her full power. Over the years, many have remarked on the similarity to Drew Barrymore, but the painting predated the movie by 4 years.

FIRESTARTER (1980) Acrylic on Masonite - 20” x 30” It might surprise some fans that my first work with Stephen King wasn’t THE GUNSLINGER. We first met at the World Fantasy Convention in 1979 when we were both Guests of Honor. #bookssky #art 🪐📚

In this week’s newsletter, we’re pleased to add four major paintings to the original art available in our shop…plus save on last chance pricing on best selling prints this week only! theartofmichaelwhelan.substack.com/p/treasures-...

EVILE (2009) Acrylic on Panel - 20” x 20” Cover illustration for Infected Nations by Evile www.michaelwhelan.com/shop/evile/

In this week’s newsletter, we’re pleased to add four major paintings to the original art available in our shop…plus save on last chance pricing on best selling prints this week only! theartofmichaelwhelan.substack.com/p/treasures-...

LORD PROTECTOR (1989) Acrylic on Canvas - 32” x 20” Alternative cover for Sunrunner’s Fire (The Dragon Prince #3) by Melanie Rawn www.michaelwhelan.com/shop/lord-pr...

DESTROYING ANGEL (1982) Acrylic on Canvas - 34” x 24” 

All of the concepts I submitted for the 1982 Year’s Best Horror Stories cover were strong. If I had tried to guess which one would be chosen, the concept that became this painting would have been my last guess. #bookssky #horror #art 🪐📚

The tree is meant to suggest the dendritic branching of blood vessels, but it is withered. And the background consists of a purple haze—a reference to the reason I got to ruminating on the whole subject to begin with, the death of Jimi Hendrix.

DESTROYING ANGEL (1982) Acrylic on Canvas - 34” x 24” 

All of the concepts I submitted for the 1982 Year’s Best Horror Stories cover were strong. If I had tried to guess which one would be chosen, the concept that became this painting would have been my last guess. #bookssky #horror #art 🪐📚

But Don Wollheim saw possibilities in the concept better than I did and selected it to develop for the cover. For an allegory on the use of opium and its derivatives— specifically heroin—I posed the Angel of Death amid a field of poppies, offering a false mask of friendship.

APOTHEOSIS OF WAR (1992)
 Acrylic on Watercolor Board - 20” x 19” 

People often ask me, “Where do you get your ideas?” I always have so many that I don’t think I’ll live long enough to paint them all...and if I ever experience a shortage, I just have to pick up the morning paper. #horror #art

The painting was a reaction to news of the fighting in Sarajevo in 1992, but unfortunately war as a topic for art will be universal and eternal, especially as we continue to be influenced by hate and drawn into intractable wars.

THE DOLL (1983) 
Acrylic on Illustration Board - 30” x 15”

 There were audible rustlings in the audience when this image came up in one of my slide shows.

Is it the life-sized fly on the doll’s face, the empty eye socket, or the demented stares on the girls’ faces as they peer out of the darkness? That unsettling unease is what good horror paintings are all about.

PENDULUM (1999) Acrylic on Panel - 11" x 9" At times, the light of knowledge seems to illuminate only the negative side of our existence and becomes a burden to the spirit. #art

CACOPHONY (1992) Mixed Media - 24" x 24" I had a good relationship with Sepulture after their Beneath the Remains and Arise releases. When they sent a sample of “Refuse/Resist”—which I loved—I was eager to be part of the project for Chaos A.D. #horror #art

I saw the picture in my head one evening when I was stuck in a crowded room filled with noisy people. I felt trapped and driven to distraction by the commotion, hands grasping at me for attention, when all I wanted to do is get away and find quiet somewhere.

CACOPHONY (1992) Mixed Media - 24" x 24" I had a good relationship with Sepulture after their Beneath the Remains and Arise releases. When they sent a sample of “Refuse/Resist”—which I loved—I was eager to be part of the project for Chaos A.D. #horror #art

Everyone—from the band to the art director and staff at Roadrunner Records—was terrific to work with. It was such a no-hassle thing compared to past efforts with other artists. They were encouraging and the atmosphere was excellent; we were, I felt, all on the same vibe.

COLD AND ALONE (2025)
 Acrylic on Illustration Board - 13” x 10” "Mordred was as cold as they were, every bit, and he had no one." In "The White Lands of Empathica" from The Dark Tower, scenes alternate between Roland’s katet and Mordred following their trail.