Commissioned by Topps for a calendar featuring the fabulous Barbi Twins, the gentleness of this painting is an appealing favorite of Julie Bell admires.
The two women seen here are one and the same person - the wife of the client who commissioned the painting. The client suggested the big cats, the environment, and the general mood of the portrait.
The painting is an exapmle of a creative effort taking on a life of its own. Originally conceived as a basic (albeit sexy) figure study with no metallic features, the sketch received such a great response that Julie decided to do a pianting of it. From there, the character too over the reins and morphed into an entirely new concept.
This painting is based on a photograph of Julie Bell and Boris Vallejo that was taken around the time of their marriage.
Despite their obvious differences, the serpent and the woman blend together so naturally that there is no question of their love relationship. It is the first painting in Which Julie used a gold metal affect.
This painting was done for the CFM Gallery in New York as part of a show highlighting works of eroticism by over 100 artists. Other featured artists included Boris Vallejo, Salvador Dali, HR Giger, and many others. Needless to say, the show was a huge success.
Here is a great example of how a title can "create" a story within a painting . From the title, it appears that the otherwise threatening monster is completely spellbound by the erotic "sorceress." Even his index finger is transfixed by her delicate pinky.
Julie Bell painted this portfolio piece because she has always been fascinated by mermaids and had never seen an African American portrayed as one.
This painting was originally produced with the duel purpose of getting Julie's work and the model on an album cove. While it never did make it to the cover, it ultimately became successful in and of itself.
A portrait of the wife of the client. Julie has a natural affinity to portraityre and enjoys capturing the essence of a model in both body and spirit.
This painting contains elements of the symbolic realism that have always fascinated Julie. Her work makes a statement about humanity in the form of painted poetry.
With fantasy, Julie Bell depicts sexuality in offbeat but believable ways. Her images are nothing less than erotic.
Created especially for a calendar cover, this painting exudes self confidence: A woman single handedly defends her utopian environment against an alien invasion using a bow and arrow and a small helpmate.
This painting appeared on the cover of Chaos! Comics in 1995. It is one of the Bell's favorites. The character is exposed - vulnerable? - but at the same time totally untouchable, as if she can conquer the universe.