Harrison Ellenshaw

Harrison got a phenomenal break. Fate smiled on me, as it had for my father, he says humbly. I got a chance to do some work on Star Wars. At this point, a tale of two Ellenshaws becomes the tale of two separate Ellenshaws, as this is where Harrison begins to really strike out on his own, away from his father’s legacy. His work on Star Wars was so well received that he was asked to return to work on The Empire Strikes Back. By this time, having clearly carved a niche for himself, Harrison had no problem working with his father on Disney’s The Black Hole in 1979. Harrison then went solo again to add his unforgettable touch to Tron, one of the most unique and visually stunning films ever, now a cult classic.

After work on “Captain Eo,” “Superman IV,” “Ghost” and other films, a memorable year for Harrison was 1989, when he worked on Dick Tracy. The matte paintings were visually the star of that film, he recalls. And by then I was doing some fine art painting on my own.

Up until this point I had been painting trees with black, gray and brown trunks and green leaves, he points out. And then I came across the Fauves, who were only in existence a few years, and their intense use of color. They had done something I really enjoyed and appreciated. So I began to paint far more colorfully than I had in the past. Today, I enjoy painting as much as ever and I enjoy doing things that are really colorful. The great thing is that now with the giclée process of making prints, you can match the colors perfectly. Harrison’s work has been exhibited at the prestigious Hammer Galleries in New York, as well as galleries in London and San Francisco. Collectors Editions is proud to publish the works of Harrison Ellenshaw, in all their true, vivid color.

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