Fw Murnau Max Shreck Horror Silent Movi Crewneck Sweatshirts

A thrilling mystery masterpiece - a chilling psycho-drama of blood-lust.

20th CENTURY ICONS - NOSFERATU. Max Shreck plays Count Orlok the vampire in FW Murnau's 1922 production of "Nosferatu, eine Symphonie des Grauens"

I love the scene in Nosferatu, eine Symphonie des Grauens after Count Orlok bites Ellen Hutter's "lovely neck." As Orlok slowly looks up, with his twisted claw wrapped around the head of his victim, he stares directly into the camera for a beat, which makes for one of the creepiest scenes ever. As I often do, I captured my own still of this scene for reference and tried to pay tribute to the moment by painting in a dark, minimal 2-tone feel inspired by the grim but stark look of the movie. To contrast the near-black brushwork, I created a graphic background with my signature gradient banding in purple. Then I fit everything into an oval with a grainy vignette to sort of fuse vintage and modern into one look and tie it all together.

My favorite scene in Nosferatu, eine Symphonie des Grauens is the creepy shadow on the wall as Count Orlok ascends the staircase toward his final victim; it is one of the most iconic images in film and perfectly captures the ambiance of classic horror. In tribute to the simplicity of this still, I kept the artwork as minimal as possible. To contrast the near-black brushwork of the silhouette, I created a graphic background with my signature gradient banding in purple. Then I fit everything into an oval with a grainy vignette to sort of fuse vintage and modern into one look and tie it all together.

My favorite scene in Nosferatu, eine Symphonie des Grauens is the creepy shadow on the wall as Count Orlok ascends the staircase toward his final victim; it is one of the most iconic images in film and perfectly captures the ambiance of classic horror. In tribute to the simplicity of this still, I kept the artwork as minimal as possible. To contrast the near-black brushwork of the silhouette, I created a graphic background with my signature gradient banding in greyscale. Then I fit everything into an oval with a grainy vignette to sort of fuse vintage and modern into one look and tie it all together.

For my Mod Pop Art tribute to the groundbreaking German silent horror film Nosferatu, eine Symphonie des Grauens, I created a dark, minimal 2-tone feel inspired by the grim but stark look of the movie and painted my rendition of three of its most iconic images, then combined them into one piece. To contrast the simplistic near-black brushwork, I created a vivid colorful graphic background with my signature gradient banding in yellow/green/purple, a Halloween-like rainbow of sorts. Then I fit everything nicely into an oval with a grainy vignette to sort of fuse vintage and modern into one look and tie it all together.

For my Mod Pop Art tribute to the groundbreaking German silent horror film Nosferatu, eine Symphonie des Grauens, I created a dark, minimal 2-tone feel inspired by the grim but stark look of the movie and painted my rendition of three of its most iconic images, then combined them into one piece. To contrast the simplistic near-black brushwork, I created a vivid colorful graphic background with my signature gradient banding in greyscale, a Halloween-like rainbow of sorts. Then I fit everything nicely into an oval with a grainy vignette to sort of fuse vintage and modern into one look and tie it all together.

I love the scene in Nosferatu, eine Symphonie des Grauens after Count Orlok bites Ellen Hutter's "lovely neck." As Orlok slowly looks up, with his twisted claw wrapped around the head of his victim, he stares directly into the camera for a beat, which makes for one of the creepiest scenes ever. As I often do, I captured my own still of this scene for reference and tried to pay tribute to the moment by painting in a dark, minimal 2-tone feel inspired by the grim but stark look of the movie. To contrast the near-black brushwork, I created a graphic background with my signature gradient banding in greyscale. Then I fit everything into an oval with a grainy vignette to sort of fuse vintage and modern into one look and tie it all together.