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The sooner you visit, the sooner you can become best friends!

Your favorite museum paintings are now suave heroes, ominous villains, or striking settings in our SUSPENSEFUL spy epic, BRUSH WITH PERIL!


Museum masterworks can...

...transfix us, hold time still, and carry us off into the far-off and thought-provoking realms of stories they must contain!

Who ARE these interesting, beautiful people in all these exquisite paintings? Where are these lovely, fascinating, distinctive places? “Brush With Peril: A Full-Length Agent Ian Anger Novel of Low Brow Intrigue and High Brow Art” will answer these questions, fans… definitively! They’re SPIES! Who wear masks!

In this art-referential treasure-trove of thrills and melodrama, American Realist Sculptors are getting murdered across the nation. Agent Ian Anger is sent around the globe to find out why, with only his wits, his tuxedo and ski mask, and armed with automatics and his fists, all manner of exciting vehicles on land and air, and teaming up along the way with various colorful fellow masked agents who make up the Global Agency of Protection.

The search leads to masked politicians, masked religious leaders, menacing masked thugs, masked football players, masked kick-boxing ballerina dancers, masked girlfriends of masked celebrity artists, masked scientists, masked assassins (to protect their identities), and mechanical sea monsters who don’t wear masks because they’re robots, as well as gunfire, karate chopping and kicking and punching, car chases, air and boat warfare, illicit gambling with heavy stakes (Name the Bean!), healthy pseudo-intellectual expostulations on art appreciation and critical analysis; and all of it embroiling Agent Anger in a political plot of vanity, villainy, art theory, and destruction.

WHAT IS ART? What has art to do with the thin but intensely problematic plotline? And why is so much art so heavily referenced? Who has the right to create, analyze, judge, or censor art?? Is the fate of the nation's art appreciation at stake??? Join Special Agent Ian Anger and the Global Agency of Protection... because the future of high art, pop culture, and trash media may depend on it!

"Chris Wisnia mixes a crime cluttered comic world with the unfathomable high-financed art world where Van Gogh, Lucien Freud, Velasquez, Monet, Bacon, Hopper and dozens of other noteables, play, joust, shoot and torture each other in graphic clarity that shocks, entertains and surprises us with an original comic epic."

— Wayne Thiebaud


I'm Chris Wisnia, and I received a degree in art at UC Davis, CA, where I was fortunate to take a number of classes from Wayne Thiebaud. His lessons and ideas resonated with me and, after decades, molded the creation of Brush with Peril. Looking at works of art cause us to see the world differently, through the eyes of the artist. The swirls Van Gogh portrayed in the sky, or the softness of Cezanne's fruits on our tables. Inserting famous art into comics creates new contexts and meanings, and humor, and freshness to what we thought we knew, and fun.


The history of the artist is one of dependency upon those with the money to fund the creation of our work. Unless we were born or married into the class of the idle rich, we artists would be penniless and living in gutters, starving and in tattered clothes... without paper to draw on or tools to draw with. We need supporters like Paul Durand-Ruel, who single-handedly provided Monet and the Impressionists with money for paints or canvas or food or a roof over their heads. Durand-Ruel decided that their work deserved to be supported, and he purchased over 1000 Monets, 1500 Renoirs, 800 Pissarros, 400 Sisleys, 400 Cassatts, and 200 Manets, to allow them to subsist without having to put their time into day jobs, so that they could dedicate their eight or twelve hours a day creating their art. He basically encouraged, nurtured, and financed the entire impressionist movement.
Van Gogh's brother, Theo, did the same, providing money for rent, food, and paints, so that Vincent could not starve, and concentrate on producing his work.
Leonardo DaVinci's Last Supper in the Convent of Santa Maria delle Grazie was created because a patron commissioned him. Michelangelo could never have painted the masterpiece that adorns the Sistine Chapel's ceiling without Pope Julius II's funds.
We artists desire nothing more than the means to create the work that drives us. To deliver this work to you, to share - for your pleasure - something meaningful and unique, it is with humility and respect and thanks, and DEPENDENCE, that I suggest you consider showing your encouragment and support by visiting my Patreon page.