The World of Gerald van Oost and Oluara

In 2007, shortly after creating Gerard van Oost and Oludara, I visited Salvador on a research trip.

While there, I had the pleasure of seeing the city of Salvador from the Bay of All Saints twice, once from Fort São Marcelo, and once when I visited some islands within the Bay by boat.

View of Fort São Marcelo from Salvador

View of Salvador from Fort São Marcelo

View of Salvador from the Bay of All Saints

Those experiences ingrained in my mind an image of the European ships arriving in that same port hundreds of years ago.  I could easily imagine Gerard’s arrival in Salvador.  It is a scene not contained in the stories, but one I thought could make a nice piece of art.

When I finally decided to have a shot at creating that scene, I chose Leonardo Amora Leite (or “Amora”, as he likes to be called) as the artist.  I chose him primarily because I’d worked with him for several years as a concept artist.  I’m a huge fan of Leonardo’s work in general.  His paintings tend to suggest a rich backstory to the image, and I’ve written one story and one poem inspired by his work.

But I also chose Amora because he’d painted a jaw-dropping pirate battle which made me certain he could get the right style for the Salvador painting:

“Pirate Ship” © Leonardo Amora Leite

Leonardo agreed to the project and we sat down together to discuss it.  I provided him with a rough sketch of what I imagined: a caravel sailing toward Salvador while the city loomed over it.  I also requested he use the vibrant, almost cartoon colors which are a staple of much of his work, as in the painting below:

“The Stone Giant” © Leonardo Amora

While this type of color scheme detracts from the realism of the piece, I felt it would give the painting the feeling of optimism and fantasy contained in the stories.

I also sent  over a few dozen painting and photo references, and a copy of the book “Images de Vilas e Cidades do Brasil Colonial” by Nestor Goulart Reis, by far the richest compilation of images of settlements in Colonial Brazil I’ve ever encountered.

In the next post, I’ll detail step-by-step how Leonardo arrived at the final painting.

Leonardo Amora Leite recently revisited the painting “Arrival in Salvador” with some spectacular results.  This version is made to look like an old oil painting.  Scene elements and lighting have also been modified in several areas for effect.

Leonardo’s final version of the painting “Arrival in Salvador” is this one: a texture, line, and color scheme meant to resemble paintings from the time.

Here are a couple of examples:

“Le Baye de Tous les Saints” by Albert Dufourcq

“S. Salvador / Baya de Todos os Sanctos” by Claes Jansz Visscher and Hessel Gerritsz

Hope you enjoyed the paintings!

After completing the painting “Arrival in Salvador”, Leonardo Amora Leite felt inspired to create a couple of variations of his artwork.

The first is this version made to look like an old map.  Fantastic!