Concept Art- Matte Painting Revised

I hadn't made the clouds as clear as I'd wanted, upon reflection. However, Max's own landscapes at times do show a mix of brush strokes. And lets not forget Renaissance painters such as Rembrandt or other religious works that capture quite dynamic, transitioned brush marks. 

Incredibly strong movement, and feature lots of stormy, tense scenes.

This could be better for the 'conflict', 'frustration', 'disjointed' look of the city. Where Ernst mocks war, and faith's ability to enforce it, ironically.  

Stormy?

Dynamic, stormy skies isolate and encase the buildings. Transforming normally calm renaissance painting into a distorted, twisted version of itself. Or perhaps capturing that epic scale of nature, against the decisions of man (in war, and in architecture). 

No Colour at all? 

 This might work better to tie in the general style as a whole... especially if I include these 'Frottage' samples:

Calm?

Alternatively we could have the 'breather', in which the painting is almost reflecting on the chaos.

(Something to keep in mind is the paint blotches, and marks made by the brush itself.

Above, I'm not sure if it's clear enough to see, but this particular piece has groves where the brush has dragged, and lifted the oil. I tried to pick a brush that's mark resembled the dips.

Below you have the greeny-gold discolouration of the paper which was tricky to capture.) 

This kind of approach, is more of the 'aftermath' of conflict. Where Ernst would show the stark reality of war, and using renaissance like backgrounds against a contradictory (non-representational) subject.

In this scenario, I've the calming sky of the mountains of Bohemian, (captured by German artist: Casper David Friedrich), put against the bleak... black and white models of pre-1945 Dresden, as it was before flattened by World War II, aerial bombs dropped by British and American troops. 

An unconventional representation would be the automatic drawing, which is one, single depiction of Dresden. A memory that acts as the anchor, and floor plan for the buildings above.