Hello my friends.
Once again I return from my creative wanderings in 'Faraway Lands' with, I hope, exciting achievements. Picking up where I left off in my last detailed entry from mid-2009, I'd like to describe the next works I created leading up to my Brazil trip in October.
Legolas and Gimli Reach the Shores of Valinor
Continuing with the history of the Dwarves, and following completion of Durin I Discovers the Three Peaks, I went on to paint Legolas and Gimli Reach the Shores of Valinor, a simple piece based on the appendices in LotR, and the account of the companions' final journey.
Aule and the Seven Fathers
It was followed by a work titled Aule and the Seven Fathers, a depiction of Aule as he attempts to create the Dwarves, a scene related to my work titled Aule Prepares to Destroy His Children. This type of subject always presents difficulties, describing as it does a purely mythical event. Yet it can be very evocative and satisfying nonetheless, realism being merely the medium utilized to present a poetic, metaphysical image. All of it in order to better appreciate the wonder, pathos and beauty of Tolkien's invented myths.
The Nauglamir
Following Aule, the 4th of the Dwarf-themed works of last summer was something unusual, a depiction not of a character or scene but of an artifact; The Nauglamir. This most beautiful and rare necklace was said to be made by the Dwarves of the First Age for Finrod, and then its history has it coming into the possession of Thingol of Doriath, who commissions the Dwarves to incorporate a Silmaril into it. What soon follows is tragedy and destruction for Thingol and his kingdom, such that the necklace changes hands again a number of times until it is brought to Earendil by Elwing, the daughter of Dior, only child of Beren and Luthien. There, it is placed upon Earendil's brow, setting the stage for Earendil's transformation into a Star in the Heavens. (This last event was in fact the fragment of Story that Tolkien was inspired to build upon originally, resulting in the life's work he invested in the entire Silmarillion history!)
To accept the task of depiction of The Nauglamir, I had to accept that whatever I drew, it could not possibly fulfill the imagination of readers, given the poetic superlatives applied to the object. But as a project, it nonetheless was a fascinating puzzle. The qualities assigned to it--light on the wearer, yet heavily jeweled, and incorporating THE jewel, a Silmaril of Feanor, raised troubling questions. Tolkien uses the word 'carcanet' to describe it, and from what I could find, the definition of carcanet is understood traditionally as a 'choker' necklace. This type of necklace is worn wrapped around the neck, not resting on the shoulders like a 'bib'. Tolkien's description nonetheless suggests that it "rested lightly on the shoulders", leaving room for interpretation of his exact meaning.
The necklace was originally made for the Elf king, Finrod, and this suggests a more masculine design. Being made by the very male-centred Dwarf culture also lent weight to this rationale, such that I opted eventually for a quite geometric design, emphasizing angles and facets over curves and 'softer' elements. I also tried to incorporate the Silmaril in a way that suggested the technical demands of adapting the necklace to include the Jewel--a round, feminine object. In time, and with many revisions, I developed what seemed at least an intelligent design which incorporated all the criteria.
With the final wearing of the necklace being said to have been upon Earendil's brow, the question arose: Could he have been wearing the necklace itself, or only the detached Silmaril? Tolkien doesn't say, but given the emphasis on the time the Dwarves devoted to adapting the necklace to hold the Silmaril, it seemed incongruous that Tolkien, had he been able to fully reconcile all conflicting information in the unpublished MS, might have had Earendil dismantling the priceless, supremely beautiful and unique necklace in order to wear the Silmaril upon his brow. Therefore, its design was partly dictated by that thought, and if thus worn, it became a tiara, the Holy Jewel resting just between the eyes. The overall effect might be like a golden crown.
The Window on the West
Following my trip to Brazil, I began work on a full size version of a private commission, The Window of the West. I had generally shied away from painting the scene, despite its evocative description, but as I studied the passage in question, and in consultation with the gentleman it was intended for, I came to appreciate the interesting play of light which could be captured. The character of Faramir is always an interesting challenge; this gentler, higher minded brother to Boromir. I was careful to depict him with what I imagined would be his accouterments and costume during this episode, and to make sure his height was appropriately Numenorean, given his ancestry. Frodo is seen looking worried but respectfully at the great Gondorian, while Sam, ever cautious and skeptical, looks unimpressed.
A Conversation With Smaug
This new painting, A Conversation With Smaug, which I worked on over several weeks into February, is unapologetically inspired by Tolkien's iconic illustration for The Hobbit. Despite my thoughts of drawing the scene ever since I began depicting Middle-earth, I was never happy enough with the sketches (at least one in colour) or sufficiently moved to take on the subject before now, and was content to turn to the many other scenes and subjects instead. However, a thumbnail sketch I made while experimenting (as mentioned in a previous post) with new artwork from The Hobbit, expressed "Smaug-ness" as effectively as I've ever contrived, plus with the colour sketch that followed, such that I was happy to find I had the time to take it on to a finished work.
The challenge was to express the character of old Smaug; wily, shrewd and dangerous, yet vain and overconfident, as well as to 're-imagine' the elements in Tolkien's familiar original; the treasure piles, the deep catacombs, evidence of a final battle, plus the great vats of yet more gold and treasure. And of course there is Bilbo, who must 'register' despite his invisibility, and be juxtaposed against the great dragon in his lair. Many artists have depicted this scene, of course, so it was a scene I wanted to interpret only when I felt I could offer something interesting enough to justify adding mine to theirs.
The Riddle Game
As with the colour thumbnail posted several months ago, I found I had some time available, and turned my attention to this equally iconic scene, The Riddle Game. I once did paint an early version of it (also titled The Riddle Game), in acrylics in the mid-1970s. I now wanted to apply the intervening 35 years of experience to the subject. And the first difficulty for the artist is the darkness of the scene. As with Aule (see above) and other subjects requiring artistic license, it's necessary to ignore the obvious in order to portray the characters, and I did my best to suggest darkness while still lighting the setting.
Gollum, looking suitably wizened and slimey, emerges out of the gloom with glowing 'cat's eyes', while a clearly out of place Bilbo nervously confronts this ugly thing with his blue-lit sword Sting. Tolkien gives us a description of Gollum's cannibalistic feeding habits, so I felt justified in emphasizing the imagined results of his isolation--not unlike Shelob's lair--with bones, rottenness, and decay evident. This I feel is in keeping with The Ring's longstanding presence, it's undead evil. The coracle Gollum sits inside sends out ripples around it, not unlike the radiating malevolence within The Ring itself.
Currently on the board is a work provisionally titled Entering Mirkwood, which continues the project of new Hobbit-based scenes. I will shortly post information on the coming exhibition, Edge of the Wild, in England set for this August, where these and other new artworks will be available to see.
Posted by Ted on March 30, 2010
