by Nicholas Hornyansky
Seen once, at the start of Wendy’s ascent up the Conquest well.
As for the artist: here’s the lengthiest biography online that I could find. In it you’ll note that he graduated from the Academy of Fine Arts in Budapest before doing post graduate work in Vienna. Could that have been the Academy of Fine Arts Vienna that rejected Hitler? Also, he painted a portrait of Miriam Rothschild, whose family is referenced in King’s novel.
Given that the artist’s name includes the word “Horny” and that this is the Conquest Well, I would say that’s a good way to kick off all the sexual connotations that follow.
I also like how the first shot here includes two Nicholases, since the other piece there is by Nicholas de Grandmaison. Twin Nicks, seen right after an axe murder. Also, it hangs over the 6th and 7th step. 67s and 76s are significant numbers in the films number language, usually to demarcate some binary. In this case, does it distinguish the two Nicholases?
Also, Grandmaison is French for “big house”, which in English slang means prison. And here we have a “big house” right beside, and it’s a watermill. Given the connection between Hallorann’s demise and waterfalls, I think it’s interesting that this “big house” would be a house that processes water, and that this particular watermill is right on a cliffside. Most watermills are situated next to a river that flows straight onward. Consider what this means for the appearance of the bloodfall in the mirrorform as Wendy climbs the stairs, and consider the fact that Wendy’s four horsemen portals end with her encounter with the actual bloodfall.
Sadly, I’ve had no luck identifying the actual location depicted in this piece, if indeed it’s a real place.
Next art reference: Moon and Cow (Alex Colville, 1963)