A small tool to view real-world ActivityPub objects as JSON! Enter a URL
or username from Mastodon or a similar service below, and we'll send a
request with
the right
Accept
header
to the server to view the underlying object.
{
"@context": "https://www.w3.org/ns/activitystreams",
"type": "OrderedCollectionPage",
"orderedItems": [
{
"type": "Announce",
"actor": "https://www.minds.com/api/activitypub/users/772124321135992839",
"object": {
"type": "Note",
"id": "https://www.minds.com/api/activitypub/users/772124321135992839/entities/urn:activity:864223056844054528",
"attributedTo": "https://www.minds.com/api/activitypub/users/772124321135992839",
"content": "Frank Frazetta (American, 1928–2010). <br /><br />\"Encounter\" a.k.a. \"The Encounter\" / 1988. <br /><br />Oil on canvas. <br /><br />(See the comments section for an image of the pencil-ink-watercolour preliminary for \"The Encounter\".) <br /><br />This particular image is not of the painting itself but of a signed limited edition glicée print (a printer's proof) that was released c. late 1980's/early 1990's. The printer's proof glicée print itself measures 30.5 x 23 inches (24.5 x 18 inches for the image area). Note the extra signature on the lower left-hand side. Images of the painting available online seem to be of lesser quality and usually come with over-saturated hues. This image that is a capture of the print has the correct colour balance. <br /><br />Used for the Algis Budrys edited anthology, L. RON HUBBARD PRESENTS WRITERS OF THE FUTURE, VOLUME V (Bridge Publications pb, 1989). <br /><br />The preliminary pencil-ink-watercolour sketch was also used for the Dan and Matt Zimmer edited quarto magazine, ILLUSTRATION No. 5 (Jan. 2003). <br /><br />\"The ENCOUNTER is a study executed in the 1980’s. It began as a pencil which Frank meticulously inked. I noticed it in his sketchbook and asked Frank if he would sell it to me. Frank agreed and said: 'How would you like a little color on it?' Of course, I said 'yes'. I then watched for about 45 minutes as Frank carefully wet the paper and applied thin layers of watercolor. He very gradually and carefully built-up the tones. He was meticulous. The result is almost a miniature finished painting. By the way, the subject-matter depicts the symbolic meeting of fantasy (the fairy-girl) and science-fiction (the crashed spaceship and spaceman). Frazetta placed his zip code on the ship’s tail section. A special delivery from the mind of Frazetta!\" <br /><br />—DocDave Winiewicz, excerpt from the essay \"Frazetta: The Creative Moment\" (2008) <br /><br /><a href=\"https://www.minds.com/search?f=top&t=all&q=ScienceFictionArt\" title=\"#ScienceFictionArt\" class=\"u-url hashtag\" target=\"_blank\">#ScienceFictionArt</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=ScienceFantasy\" title=\"#ScienceFantasy\" class=\"u-url hashtag\" target=\"_blank\">#ScienceFantasy</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=ScienceFictionScene\" title=\"#ScienceFictionScene\" class=\"u-url hashtag\" target=\"_blank\">#ScienceFictionScene</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=FantasyScene\" title=\"#FantasyScene\" class=\"u-url hashtag\" target=\"_blank\">#FantasyScene</a> ",
"to": [
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],
"cc": [
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"url": "https://www.minds.com/newsfeed/864223056844054528",
"published": "2018-07-12T19:13:53+00:00",
"source": {
"content": "Frank Frazetta (American, 1928–2010). \n\n\"Encounter\" a.k.a. \"The Encounter\" / 1988. \n\nOil on canvas. \n\n(See the comments section for an image of the pencil-ink-watercolour preliminary for \"The Encounter\".) \n\nThis particular image is not of the painting itself but of a signed limited edition glicée print (a printer's proof) that was released c. late 1980's/early 1990's. The printer's proof glicée print itself measures 30.5 x 23 inches (24.5 x 18 inches for the image area). Note the extra signature on the lower left-hand side. Images of the painting available online seem to be of lesser quality and usually come with over-saturated hues. This image that is a capture of the print has the correct colour balance. \n\nUsed for the Algis Budrys edited anthology, L. RON HUBBARD PRESENTS WRITERS OF THE FUTURE, VOLUME V (Bridge Publications pb, 1989). \n\nThe preliminary pencil-ink-watercolour sketch was also used for the Dan and Matt Zimmer edited quarto magazine, ILLUSTRATION No. 5 (Jan. 2003). \n\n\"The ENCOUNTER is a study executed in the 1980’s. It began as a pencil which Frank meticulously inked. I noticed it in his sketchbook and asked Frank if he would sell it to me. Frank agreed and said: 'How would you like a little color on it?' Of course, I said 'yes'. I then watched for about 45 minutes as Frank carefully wet the paper and applied thin layers of watercolor. He very gradually and carefully built-up the tones. He was meticulous. The result is almost a miniature finished painting. By the way, the subject-matter depicts the symbolic meeting of fantasy (the fairy-girl) and science-fiction (the crashed spaceship and spaceman). Frazetta placed his zip code on the ship’s tail section. A special delivery from the mind of Frazetta!\" \n\n—DocDave Winiewicz, excerpt from the essay \"Frazetta: The Creative Moment\" (2008) \n\n#ScienceFictionArt #ScienceFantasy #ScienceFictionScene #FantasyScene ",
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"id": "https://www.minds.com/api/activitypub/users/772124321135992839/entities/urn:activity:1429463404195614726/activity",
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"id": "https://www.minds.com/api/activitypub/users/772124321135992839/entities/urn:activity:1429458176259919883",
"attributedTo": "https://www.minds.com/api/activitypub/users/772124321135992839",
"content": "Mariusz Lewandowski (Polish, b. 1960). <br /><br />\"Pareidolia\" / 2017. <br /><br />Oil on canvas, 40 x 30 cm. <br /><br />Pareidolia | par·ei·do·lia | \\ ˌper-ˌī-ˈdō-lē-ə , -ˈdōl-yə \\ is the tendency to perceive a specific, often meaningful image in a random or ambiguous visual pattern; the human ability to see shapes or make pictures out of randomness. <br /><br />Lewandowski's surreal and apocalyptic visions often blend fantasy, science fiction and religious elements. A number of his pieces depict states of transition, or portals and passageways from one point to another where the crossing may encompass distance in both material and immaterial terms. <br /><br /><a href=\"https://www.minds.com/search?f=top&t=all&q=SurrealArt\" title=\"#SurrealArt\" class=\"u-url hashtag\" target=\"_blank\">#SurrealArt</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=NeoSurrealism\" title=\"#NeoSurrealism\" class=\"u-url hashtag\" target=\"_blank\">#NeoSurrealism</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=SurrealLandscape\" title=\"#SurrealLandscape\" class=\"u-url hashtag\" target=\"_blank\">#SurrealLandscape</a> ",
"to": [
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],
"cc": [
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"url": "https://www.minds.com/newsfeed/1429458176259919883",
"published": "2022-10-19T13:16:26+00:00",
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],
"source": {
"content": "Mariusz Lewandowski (Polish, b. 1960). \n\n\"Pareidolia\" / 2017. \n\nOil on canvas, 40 x 30 cm. \n\nPareidolia | par·ei·do·lia | \\ ˌper-ˌī-ˈdō-lē-ə , -ˈdōl-yə \\ is the tendency to perceive a specific, often meaningful image in a random or ambiguous visual pattern; the human ability to see shapes or make pictures out of randomness. \n\nLewandowski's surreal and apocalyptic visions often blend fantasy, science fiction and religious elements. A number of his pieces depict states of transition, or portals and passageways from one point to another where the crossing may encompass distance in both material and immaterial terms. \n\n#SurrealArt #NeoSurrealism #SurrealLandscape ",
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},
"id": "https://www.minds.com/api/activitypub/users/772124321135992839/entities/urn:activity:1429458176259919883/activity"
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{
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"actor": "https://www.minds.com/api/activitypub/users/772124321135992839",
"object": {
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"id": "https://www.minds.com/api/activitypub/users/772124321135992839/entities/urn:activity:864137057502957568",
"attributedTo": "https://www.minds.com/api/activitypub/users/772124321135992839",
"content": "Don Maitz (American, b. 1953). <br /><br />\"Death of the Last Dragon\" / 1976. <br /><br />Oil on mahogany panel, 29 x 19 inches. <br /><br />Used for the Lin Carter edited original anthology of stories, FLASHING SWORDS! NO. 3: WARRIORS AND WIZARDS (Dell pb, 1976). <br /><br />(See comments section for an image of the published cover.) <br /><br />Also included in the six-plate limited edition art portfolio, A PORTFOLIO OF FANTASY: THE ART OF DON MAITZ (Chimera Publishing Company, 1980). The first plate of each portfolio was signed and numbered to 1,250 by Maitz. <br /><br />And also used for the Roland M. Hahn edited anthology, DER DRACHENHELD (Heyne pb, 1985). This was no. 72 in a series of 'best of' anthologies by the German publisher Heyne that collected stories in translation from THE MAGAZINE OF FANTASY AND SCIENCE FICTION starting from 1963. <br /><br /><a href=\"https://www.minds.com/search?f=top&t=all&q=FantasyArt\" title=\"#FantasyArt\" class=\"u-url hashtag\" target=\"_blank\">#FantasyArt</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=DragonArt\" title=\"#DragonArt\" class=\"u-url hashtag\" target=\"_blank\">#DragonArt</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=CharactersAndCreatures\" title=\"#CharactersAndCreatures\" class=\"u-url hashtag\" target=\"_blank\">#CharactersAndCreatures</a>",
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"url": "https://www.minds.com/newsfeed/864137057502957568",
"published": "2018-07-12T13:32:09+00:00",
"source": {
"content": "Don Maitz (American, b. 1953). \n\n\"Death of the Last Dragon\" / 1976. \n\nOil on mahogany panel, 29 x 19 inches. \n\nUsed for the Lin Carter edited original anthology of stories, FLASHING SWORDS! NO. 3: WARRIORS AND WIZARDS (Dell pb, 1976). \n\n(See comments section for an image of the published cover.) \n\nAlso included in the six-plate limited edition art portfolio, A PORTFOLIO OF FANTASY: THE ART OF DON MAITZ (Chimera Publishing Company, 1980). The first plate of each portfolio was signed and numbered to 1,250 by Maitz. \n\nAnd also used for the Roland M. Hahn edited anthology, DER DRACHENHELD (Heyne pb, 1985). This was no. 72 in a series of 'best of' anthologies by the German publisher Heyne that collected stories in translation from THE MAGAZINE OF FANTASY AND SCIENCE FICTION starting from 1963. \n\n#FantasyArt #DragonArt #CharactersAndCreatures",
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}
},
"id": "https://www.minds.com/api/activitypub/users/772124321135992839/entities/urn:activity:1429454142824255503/activity",
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{
"type": "Create",
"actor": "https://www.minds.com/api/activitypub/users/772124321135992839",
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"id": "https://www.minds.com/api/activitypub/users/772124321135992839/entities/urn:activity:1429453786480381969",
"attributedTo": "https://www.minds.com/api/activitypub/users/772124321135992839",
"content": "Judson Huss (American, 1948–2008). <br /><br />\"The Manipulator\" / Undated, c. mid-to-late 1990's? <br /><br />Oil on wood, 25 x 21 inches. <br /><br />Huss was an artist of Fantastic Realism and was heavily influenced by both the old Dutch masters and also the modern Surrealists like Ernst Fuchs and the French Visionaries. His pieces are imbued with a range of sensibilities, from science fiction and cosmic horror to religious symbolism, mysticism, and various other symbolic imagery. <br /><br /><a href=\"https://www.minds.com/search?f=top&t=all&q=SurrealArt\" title=\"#SurrealArt\" class=\"u-url hashtag\" target=\"_blank\">#SurrealArt</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=FantasyArt\" title=\"#FantasyArt\" class=\"u-url hashtag\" target=\"_blank\">#FantasyArt</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=DarkFantasyArt\" title=\"#DarkFantasyArt\" class=\"u-url hashtag\" target=\"_blank\">#DarkFantasyArt</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=FantasyScene\" title=\"#FantasyScene\" class=\"u-url hashtag\" target=\"_blank\">#FantasyScene</a> ",
"to": [
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],
"cc": [
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"tag": [],
"url": "https://www.minds.com/newsfeed/1429453786480381969",
"published": "2022-10-19T12:59:00+00:00",
"attachment": [
{
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],
"source": {
"content": "Judson Huss (American, 1948–2008). \n\n\"The Manipulator\" / Undated, c. mid-to-late 1990's? \n\nOil on wood, 25 x 21 inches. \n\nHuss was an artist of Fantastic Realism and was heavily influenced by both the old Dutch masters and also the modern Surrealists like Ernst Fuchs and the French Visionaries. His pieces are imbued with a range of sensibilities, from science fiction and cosmic horror to religious symbolism, mysticism, and various other symbolic imagery. \n\n#SurrealArt #FantasyArt #DarkFantasyArt #FantasyScene ",
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},
"id": "https://www.minds.com/api/activitypub/users/772124321135992839/entities/urn:activity:1429453786480381969/activity"
},
{
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"actor": "https://www.minds.com/api/activitypub/users/772124321135992839",
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"id": "https://www.minds.com/api/activitypub/users/772124321135992839/entities/urn:activity:864066737876373504",
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"content": "John Howe (Canadian, b. 1957). <br /><br />Likely mixed media, 47 x 67.5 cm, 1992. <br /><br />For the 1993 HarperCollins (UK) mass-market paperback edition of Guy Gavriel Kay's fantasy novel, A SONG FOR ARBONNE (Viking Canada hc, 1992). <br /><br />Cover blurb: \"This panoramic, absorbing novel creates a vivid world of love, music and magic. —PUBLISHER'S WEEKLY\" <br /><br />(See comments section for an image of the published cover.) <br /><br />John Howe provided two different illustrations for this novel by Kay. The other painting was also for the publisher HarperCollins (UK), but for the 1992 hardcover and the 1993 trade paperback editions. The other illustration paid homage to famous Swiss painter Arnold Böcklin's Isle of the Dead paintings. <br /><br />Also used for EEN LOFZANG VOOR ARBONNE, the 2001 Meulenhoff Dutch hc edition of Kay's novel. <br /><br />Kay is well known for his fantasies that are set in alternate worlds and recreate an analogue of some period from our historical past. His protagonists are usually artists, musicians, etc. instead of the standard warriors and nobility one finds in so much category fantasy literature. A SONG FOR ARBONNE recreates an alternate version of the mediaeval world, as it's based on the troubadour culture that arose in Provence, southeastern France, during the High Middle Ages. <br /><br /><a href=\"https://www.minds.com/search?f=top&t=all&q=FantasyArt\" title=\"#FantasyArt\" class=\"u-url hashtag\" target=\"_blank\">#FantasyArt</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=FantasyLandscape\" title=\"#FantasyLandscape\" class=\"u-url hashtag\" target=\"_blank\">#FantasyLandscape</a>",
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"url": "https://www.minds.com/newsfeed/864066737876373504",
"published": "2018-07-12T08:52:43+00:00",
"source": {
"content": "John Howe (Canadian, b. 1957). \n\nLikely mixed media, 47 x 67.5 cm, 1992. \n\nFor the 1993 HarperCollins (UK) mass-market paperback edition of Guy Gavriel Kay's fantasy novel, A SONG FOR ARBONNE (Viking Canada hc, 1992). \n\nCover blurb: \"This panoramic, absorbing novel creates a vivid world of love, music and magic. —PUBLISHER'S WEEKLY\" \n\n(See comments section for an image of the published cover.) \n\nJohn Howe provided two different illustrations for this novel by Kay. The other painting was also for the publisher HarperCollins (UK), but for the 1992 hardcover and the 1993 trade paperback editions. The other illustration paid homage to famous Swiss painter Arnold Böcklin's Isle of the Dead paintings. \n\nAlso used for EEN LOFZANG VOOR ARBONNE, the 2001 Meulenhoff Dutch hc edition of Kay's novel. \n\nKay is well known for his fantasies that are set in alternate worlds and recreate an analogue of some period from our historical past. His protagonists are usually artists, musicians, etc. instead of the standard warriors and nobility one finds in so much category fantasy literature. A SONG FOR ARBONNE recreates an alternate version of the mediaeval world, as it's based on the troubadour culture that arose in Provence, southeastern France, during the High Middle Ages. \n\n#FantasyArt #FantasyLandscape",
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"id": "https://www.minds.com/api/activitypub/users/772124321135992839/entities/urn:activity:1429415277803606021/activity",
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{
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"id": "https://www.minds.com/api/activitypub/users/772124321135992839/entities/urn:activity:1429414451664130061",
"attributedTo": "https://www.minds.com/api/activitypub/users/772124321135992839",
"content": "Dejah Thoris, the Princess of Mars<br /><br /><a href=\"https://www.minds.com/newsfeed/1429411904371036170\" target=\"_blank\">https://www.minds.com/newsfeed/1429411904371036170</a>",
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"url": "https://www.minds.com/newsfeed/1429414451664130061",
"published": "2022-10-19T10:22:41+00:00",
"source": {
"content": "Dejah Thoris, the Princess of Mars\n\nhttps://www.minds.com/newsfeed/1429411904371036170",
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"id": "https://www.minds.com/api/activitypub/users/772124321135992839/entities/urn:activity:1429414451664130061/activity"
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{
"type": "Create",
"actor": "https://www.minds.com/api/activitypub/users/772124321135992839",
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"id": "https://www.minds.com/api/activitypub/users/772124321135992839/entities/urn:activity:1429411904371036170",
"attributedTo": "https://www.minds.com/api/activitypub/users/772124321135992839",
"content": "Arantza Sestayo Jiménez (Spanish, b. 1964). <br /><br />\"Dejah Thoris\" / 2020. <br /><br />Oils, either on heavy stock paper or canvas. <br /><br />Fan art for Edgar Rice Burroughs' Barsoom novels featuring the ever nearly-nude Princess of Mars. <br /><br /><a href=\"https://www.minds.com/search?f=top&t=all&q=ScienceFictionArt\" title=\"#ScienceFictionArt\" class=\"u-url hashtag\" target=\"_blank\">#ScienceFictionArt</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=ScienceFantasy\" title=\"#ScienceFantasy\" class=\"u-url hashtag\" target=\"_blank\">#ScienceFantasy</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=CharactersAndCreatures\" title=\"#CharactersAndCreatures\" class=\"u-url hashtag\" target=\"_blank\">#CharactersAndCreatures</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=FanArt\" title=\"#FanArt\" class=\"u-url hashtag\" target=\"_blank\">#FanArt</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=Barsoom\" title=\"#Barsoom\" class=\"u-url hashtag\" target=\"_blank\">#Barsoom</a> ",
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"url": "https://www.minds.com/newsfeed/1429411904371036170",
"published": "2022-10-19T10:12:34+00:00",
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"source": {
"content": "Arantza Sestayo Jiménez (Spanish, b. 1964). \n\n\"Dejah Thoris\" / 2020. \n\nOils, either on heavy stock paper or canvas. \n\nFan art for Edgar Rice Burroughs' Barsoom novels featuring the ever nearly-nude Princess of Mars. \n\n#ScienceFictionArt #ScienceFantasy #CharactersAndCreatures #FanArt #Barsoom ",
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"id": "https://www.minds.com/api/activitypub/users/772124321135992839/entities/urn:activity:1429411904371036170/activity"
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"attributedTo": "https://www.minds.com/api/activitypub/users/772124321135992839",
"content": "Hello, people. Back at MINDS after over a year. Last time I posted on this channel was in June, 2021. That's a long break for sure!",
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"url": "https://www.minds.com/newsfeed/1429411051522232331",
"published": "2022-10-19T10:09:11+00:00",
"source": {
"content": "Hello, people. Back at MINDS after over a year. Last time I posted on this channel was in June, 2021. That's a long break for sure!",
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},
"id": "https://www.minds.com/api/activitypub/users/772124321135992839/entities/urn:activity:1429411051522232331/activity"
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"content": "\"Saturn's Rings\" - a false-colour photograph taken by a camera on the Voyager 2 spacecraft as it approached the planet in during August, 1981. See link for full image plus info. <br /><br /><a href=\"https://www.minds.com/newsfeed/1227215200839606272\" target=\"_blank\">https://www.minds.com/newsfeed/1227215200839606272</a>",
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"content": "\"Saturn's Rings\" - a false-colour photograph taken by a camera on the Voyager 2 spacecraft as it approached the planet in during August, 1981. See link for full image plus info. \n\nhttps://www.minds.com/newsfeed/1227215200839606272",
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"content": "Bruce Pennington (English, b. 1944). <br /><br />Likely gouache, 1969. <br /><br />For the 1969 New English Library pb edition of Kingsley Amis' collection of essays on the science fiction genre, NEW MAPS OF HELL (Harcourt, Brace & World hc, 1960). <br /><br />(See comments section for an image of the published cover.) <br /><br />In addition to being amongst Britain's greatest and most celebrated post-war realist authors, Kingsley Amis was also a science fiction enthusiast. He wrote a work of SF himself, the alternate history novel, THE ALTERATION, in which the Reformation never took place. The novel even won the 1977 John W. Campbell Memorial Award. <br /><br />Amis critiques the science fiction genre as a literary phenomenon in this collection of essays. He introduces the layman to the value of the genre by discussing its conceptual potency, but he also discusses bad science fiction writing. An excellent and early reference guide, and particularly significant for being written by an esteemed mainstream author rather than by someone specifically from within the genre's ghetto. <br /><br />This illustration also appeared within the pages of the magazine SCIENCE FICTION MONTHLY (Oct. 1975); <br /><br />in the Martyn Dean, Roger Dean & Donald Lehmkuhl edited art book, THE FLIGHTS OF ICARUS (Paper Tiger hc/tpb, 1977); <br /><br />and in Pennington's own art book, ULTRATERRANIUM (Paper Tiger / Dragon's World tpb, 1992). <br /><br /><a href=\"https://www.minds.com/search?f=top&t=all&q=ScienceFictionArt\" title=\"#ScienceFictionArt\" class=\"u-url hashtag\" target=\"_blank\">#ScienceFictionArt</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=SpaceshipArt\" title=\"#SpaceshipArt\" class=\"u-url hashtag\" target=\"_blank\">#SpaceshipArt</a>",
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"published": "2018-07-11T19:11:36+00:00",
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"content": "Bruce Pennington (English, b. 1944). \n\nLikely gouache, 1969. \n\nFor the 1969 New English Library pb edition of Kingsley Amis' collection of essays on the science fiction genre, NEW MAPS OF HELL (Harcourt, Brace & World hc, 1960). \n\n(See comments section for an image of the published cover.) \n\nIn addition to being amongst Britain's greatest and most celebrated post-war realist authors, Kingsley Amis was also a science fiction enthusiast. He wrote a work of SF himself, the alternate history novel, THE ALTERATION, in which the Reformation never took place. The novel even won the 1977 John W. Campbell Memorial Award. \n\nAmis critiques the science fiction genre as a literary phenomenon in this collection of essays. He introduces the layman to the value of the genre by discussing its conceptual potency, but he also discusses bad science fiction writing. An excellent and early reference guide, and particularly significant for being written by an esteemed mainstream author rather than by someone specifically from within the genre's ghetto. \n\nThis illustration also appeared within the pages of the magazine SCIENCE FICTION MONTHLY (Oct. 1975); \n\nin the Martyn Dean, Roger Dean & Donald Lehmkuhl edited art book, THE FLIGHTS OF ICARUS (Paper Tiger hc/tpb, 1977); \n\nand in Pennington's own art book, ULTRATERRANIUM (Paper Tiger / Dragon's World tpb, 1992). \n\n#ScienceFictionArt #SpaceshipArt",
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"content": "Michael Whelan (American, b. 1950). <br /><br />\"Outbound\" / 1974. <br /><br />Oil on illustration board. <br /><br />Whelan had submitted some artwork to editor Donald A. Wollheim of DAW Books during the summer of 1974, and had received a positive reply with an offer for cover work. Around the same time, he had also met someone who promised to take some of his work to the 32nd World Science Fiction Convention (a.k.a. Discon II) that was being held from August 29 to September 2, 1974, at the Sheraton Park Hotel in Washington, D.C. His work was entered at the art show as a \"professional\" rather than \"fan\" artist, and his painting \"Outbound\" ended up winning the show. <br /><br />Thomas Schlück, a German literary agent, saw his work at the convention and contacted Whelan with an offer to buy foreign rights for the work he had seen in D.C. <br /><br />\"Outbound\" first appeared in a variant form of the featured art on the cover of Magazine Management's (Marvel's parent company) black-and-white science-fiction comics anthology, UNKNOWN WORLDS OF SCIENCE FICTION No. 3 (May, 1975). <br /><br />It had some slight additions (2 floating astronauts) compared to the original \"Outbound\" featured in the OP, likely because the rights to the original painting was held by the German literary agent. <br /><br />(See comments section for an image of the SF magazine with variant cover art.) <br /><br />\"Outbound\" (in its original form) was featured on the covers of the following European SF publications: <br /><br />DER EISPLANET, the 1975, German-translated Pabel pb edition of Edmund Cooper's THE TENTH PLANET (Hodder & Stoughton hc, 1973); <br /><br />TERMINUS, the 1979, Dutch-translated Luitingh tpb edition of Stanislaw Lem's 'Pirx the Pilot' collection of stories, OPOWIEŚCI O PILOCIE PIRXIE (Wydawnictwo Literackie, 1968); <br /><br />and SCHWARTZ WIE DER TAG, the 2006, German-translated Bastei Lübbe pb edition of Charles Sheffield's DARK AS DAY (Tor hc, 2002). <br /><br />(See comments section for images of the published European SF covers.) <br /><br />It was also featured as an interior piece (although unknown whether the original or variant version) in the fictional future-history book, SPACE WARS: WORLDS AND WEAPONS (Octopus Books hc, 1979) by Steven Eisler. This book outlined an illustrated future-history, albeit written as a non-fiction account, of the conflicts that engulfed the Galactic Worlds during its first five millennia. The illustrations by a whole host of artists featured the many machines, spacecraft and weaponry by the Empires of the first three Federations during the Zone Wars. The illustrations and text included blueprints and technical specifications of various crafts such as battlecruisers, transporters and artificial worlds. <br /><br /><a href=\"https://www.minds.com/search?f=top&t=all&q=ScienceFictionArt\" title=\"#ScienceFictionArt\" class=\"u-url hashtag\" target=\"_blank\">#ScienceFictionArt</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=SpaceshipArt\" title=\"#SpaceshipArt\" class=\"u-url hashtag\" target=\"_blank\">#SpaceshipArt</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=HabitatsAndOrbitals\" title=\"#HabitatsAndOrbitals\" class=\"u-url hashtag\" target=\"_blank\">#HabitatsAndOrbitals</a>",
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"published": "2021-06-24T20:07:42+00:00",
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"content": "Michael Whelan (American, b. 1950). \n\n\"Outbound\" / 1974. \n\nOil on illustration board. \n\nWhelan had submitted some artwork to editor Donald A. Wollheim of DAW Books during the summer of 1974, and had received a positive reply with an offer for cover work. Around the same time, he had also met someone who promised to take some of his work to the 32nd World Science Fiction Convention (a.k.a. Discon II) that was being held from August 29 to September 2, 1974, at the Sheraton Park Hotel in Washington, D.C. His work was entered at the art show as a \"professional\" rather than \"fan\" artist, and his painting \"Outbound\" ended up winning the show. \n\nThomas Schlück, a German literary agent, saw his work at the convention and contacted Whelan with an offer to buy foreign rights for the work he had seen in D.C. \n\n\"Outbound\" first appeared in a variant form of the featured art on the cover of Magazine Management's (Marvel's parent company) black-and-white science-fiction comics anthology, UNKNOWN WORLDS OF SCIENCE FICTION No. 3 (May, 1975). \n\nIt had some slight additions (2 floating astronauts) compared to the original \"Outbound\" featured in the OP, likely because the rights to the original painting was held by the German literary agent. \n\n(See comments section for an image of the SF magazine with variant cover art.) \n\n\"Outbound\" (in its original form) was featured on the covers of the following European SF publications: \n\nDER EISPLANET, the 1975, German-translated Pabel pb edition of Edmund Cooper's THE TENTH PLANET (Hodder & Stoughton hc, 1973); \n\nTERMINUS, the 1979, Dutch-translated Luitingh tpb edition of Stanislaw Lem's 'Pirx the Pilot' collection of stories, OPOWIEŚCI O PILOCIE PIRXIE (Wydawnictwo Literackie, 1968); \n\nand SCHWARTZ WIE DER TAG, the 2006, German-translated Bastei Lübbe pb edition of Charles Sheffield's DARK AS DAY (Tor hc, 2002). \n\n(See comments section for images of the published European SF covers.) \n\nIt was also featured as an interior piece (although unknown whether the original or variant version) in the fictional future-history book, SPACE WARS: WORLDS AND WEAPONS (Octopus Books hc, 1979) by Steven Eisler. This book outlined an illustrated future-history, albeit written as a non-fiction account, of the conflicts that engulfed the Galactic Worlds during its first five millennia. The illustrations by a whole host of artists featured the many machines, spacecraft and weaponry by the Empires of the first three Federations during the Zone Wars. The illustrations and text included blueprints and technical specifications of various crafts such as battlecruisers, transporters and artificial worlds. \n\n#ScienceFictionArt #SpaceshipArt #HabitatsAndOrbitals",
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"content": "Donato Giancola (American, b. 1967). <br /><br />\"Reach\" / 2018. <br /><br />Oil on panel, 24 x 18 inches. <br /><br />Another painting in Giancola's Empathy series which features robots in various empathetic moments and situations. <br /><br />\"Expanding upon my Empathetic Robot series, this painting investigates the emotional reach we must all undertake when helping others in extreme need. What motivates such actions, such empathy? <br /><br />\"The answer is held within the core of our being…\" —Donato Giancola <br /><br /><a href=\"https://www.minds.com/search?f=top&t=all&q=ScienceFictionArt\" title=\"#ScienceFictionArt\" class=\"u-url hashtag\" target=\"_blank\">#ScienceFictionArt</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=RobotArt\" title=\"#RobotArt\" class=\"u-url hashtag\" target=\"_blank\">#RobotArt</a>",
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"published": "2018-07-11T17:49:49+00:00",
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"content": "Donato Giancola (American, b. 1967). \n\n\"Reach\" / 2018. \n\nOil on panel, 24 x 18 inches. \n\nAnother painting in Giancola's Empathy series which features robots in various empathetic moments and situations. \n\n\"Expanding upon my Empathetic Robot series, this painting investigates the emotional reach we must all undertake when helping others in extreme need. What motivates such actions, such empathy? \n\n\"The answer is held within the core of our being…\" —Donato Giancola \n\n#ScienceFictionArt #RobotArt",
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"content": "John Harris (English, b. 1948). <br /><br />\"Icehenge\" / 1985. <br /><br />Acrylics on board, 29 x 19 inches. <br /><br />Done for the 1985 Orbit/Futura pb edition of Kim Stanley Robinson's SF novel, ICEHENGE (Ace Books pb, 1984). <br /><br />(See comments section for the preliminary sketch and for the published cover.) <br /><br />Cover blurb: \"Simply one of the best writers. —Gene Wolfe\" <br /><br />I think this might have been the earliest illustration by Harris that I remember coming across aside from the illustration re-used for Orson Scott Card's ENDER'S GAME. This was the first Robinson novel I ever read, and I remember finding it simultaneously intriguing and also a little boring. What I do recall most strongly was the sense of mystery that the illustration evoked, and which was also a plot point for the story. <br /><br />ICEHENGE covers many similar themes and topics found in Robinson's subsequent works, such as political revolution, revisionist history, longevity, and the pessimistic attitude toward humanity ever achieving interstellar travel. The eponymous \"icehenge\" are Stonehenge-like monuments found by archaeologists on Pluto, and the mystery surrounding them might be that they were erected some centuries earlier by a group of failed revolutionaries who might have attempted interstellar travel. The writing on the monuments is in the classical Indian Devanagari script of the Sanskrit language. <br /><br /><a href=\"https://www.minds.com/search?f=top&t=all&q=ScienceFictionArt\" title=\"#ScienceFictionArt\" class=\"u-url hashtag\" target=\"_blank\">#ScienceFictionArt</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=ScienceFictionLandscape\" title=\"#ScienceFictionLandscape\" class=\"u-url hashtag\" target=\"_blank\">#ScienceFictionLandscape</a> <a href=\"https://www.minds.com/search?f=top&t=all&q=ScienceFictionStructure\" title=\"#ScienceFictionStructure\" class=\"u-url hashtag\" target=\"_blank\">#ScienceFictionStructure</a> ",
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"published": "2021-06-24T14:27:34+00:00",
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"content": "John Harris (English, b. 1948). \n\n\"Icehenge\" / 1985. \n\nAcrylics on board, 29 x 19 inches. \n\nDone for the 1985 Orbit/Futura pb edition of Kim Stanley Robinson's SF novel, ICEHENGE (Ace Books pb, 1984). \n\n(See comments section for the preliminary sketch and for the published cover.) \n\nCover blurb: \"Simply one of the best writers. —Gene Wolfe\" \n\nI think this might have been the earliest illustration by Harris that I remember coming across aside from the illustration re-used for Orson Scott Card's ENDER'S GAME. This was the first Robinson novel I ever read, and I remember finding it simultaneously intriguing and also a little boring. What I do recall most strongly was the sense of mystery that the illustration evoked, and which was also a plot point for the story. \n\nICEHENGE covers many similar themes and topics found in Robinson's subsequent works, such as political revolution, revisionist history, longevity, and the pessimistic attitude toward humanity ever achieving interstellar travel. The eponymous \"icehenge\" are Stonehenge-like monuments found by archaeologists on Pluto, and the mystery surrounding them might be that they were erected some centuries earlier by a group of failed revolutionaries who might have attempted interstellar travel. The writing on the monuments is in the classical Indian Devanagari script of the Sanskrit language. \n\n#ScienceFictionArt #ScienceFictionLandscape #ScienceFictionStructure ",
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