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Hildebrandts Parting Shot!
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Feb 21 2007, 1:53pm

Post #26 of 29 (2025 views)
You know [In reply to] Can't Post

That in the default settings you just need to type the web address, without http. So for example www.theonering.net is instantly clickable.

"Any society that would give up a little liberty to gain a little security will deserve neither and lose both."
Benjamin Franklin

Advising Elf

Feb 26 2007, 5:32pm

Post #27 of 29 (2032 views)
Last comments. [In reply to] Can't Post

This version of the Balrog is better than the one from the 1978 calendar, but it still needs fire.

Th"Journey to the Dark Tower" reminds me of "The Fellowship". Possibly a pre-cursor to it.

What's the date on this? It looks like the BH copied Raplh Bakshi: http://img-fan.theonering.net/...rodo_and_gandalf.jpg

Frodo looks like Elvis here.

"I haven't any right to criticise books, and I don't do it except when I hate them. I often want to criticise Jane Austen, but her books madden me so that I can't conceal my frenzy from the reader; and therefore I have to stop every time I begin. Everytime I read 'Pride and Prejudice' I want to dig her up and beat her over the skull with her own shin-bone." - Mark Twain

NZ Strider

Mar 16 2007, 8:14am

Post #28 of 29 (2137 views)
At Drogo's request, a repost on the Hildebrants' "Éowyn's Healing": [In reply to] Can't Post

I actually found this filed away on my computer: I usually write longer posts in a word-processor and save them there, and sometimes I don't get around to doing the necessary housecleaning to delete them. I've edited this to remove all "hot-linking," but have not checked to see if the URLs are still working; also, conceivably this is not exactly what I posted way back when since I often edit between last save on the word-processor and actual post.

Below the Hildebrandts' painting of Aragorn healing Éowyn should appear:


Again, I know the Hildebrandts are not most TORNsibs' favourite artists, but still... First, this painting shows good use of chiaroscuro, a technique conspicuously lacking in many of the other paintings of indoor scenes in Tolkien. (Cf. e.g. Eiszmann's painting of


Faramir's interview with Denethor which, IMHO, would have benefitted handsomely from adept use of chiaroscuro -- cf. Rembrandt's famous painting of the


Conspiracy of Claudius Civilis in which the source of light, candles on the table in the conspirators' midst, cannot be seen.) Also, in what is essentially a static scene the Hildebrandts have contrived to introduce a great deal of action, though one may question their taste in methods. Each of the three awake actors makes a sweeping gesture with one or both arms: Éomer points with his arm to the left -- but there is nothing at the left of the painting for him to point to, and the gesture moreover pulls attention away from Éowyn; Aragorn dramatically holds aloft the bowl with the athelas -- such that, in real life, he would probably be about to spill it unless he were a trained waiter; Gandalf clutches his staff and holds it up high. While these stirring gestures bring action into the static painting, they've not been integrated well into the painting as a whole. Why is Gandalf holding his staff aloft with both hands? He is not working any wizardry with it, so where is the gesture's point? What is Éomer pointing to? Is the future King a waiter?
All the same, the Hildebrandts have done a good job with the lighting and with the overall composition -- the way in which all three men's gazes lead the eye to the wounded Éowyn is most effective -- even if their gestures detract from Éowyn.

Below another healing scene, this time of Faramir (the artist is Anke-Katrin Eiszmann) should be appearing; URL is as follows:


Eiszmann has switched the perspective: whereas the Hildebrandts showed us Aragorn from the back, Eiszmann shows us Aragorn from the front. This removes the focus from the wounded person and places it squarely on the healer, the future King. (The Hildebrandts, when one discounts the three men's dramatic gestures, had placed the focus on Éowyn.) Now, notice how Eiszmann (who, be it noted, seems never even to have attempted chiaroscuro) how tried to add some action to the static scene. Aragorn's right hand rests on Faramir's breast; with his left he strokes Faramir's head. As in the Hildebrandts' painting, he's doing something with his hands, only the gestures don't look silly. Moreover, in the Hildebrandts' painting, Aragorn's holding aloft the bowl of athelas in the dead centre of the painting also deflected attention from Éowyn, as though the athelas were the most important thing in the painting, the thing on which most light fell. At any rate, if that much light is going to fall on the athelas, it <i>ought</i> to be the most important thing in the painting -- cf. Rembrandt's


Zeus and Danae: the centre of attention is Danaë's hand, on which the light falls in a highly stylised depiction of physical congress between Zeus and Danaë; by the way, you would see the light hitting the hand much more clearly in a good image. Back to Eiszmann, however...

The danger in depicting the others in the room is that if they are just lined up, they will reïnforce the "staticness" of the painting. There has to be some action, some variation -- what the Hildebrandts IMHO overdid. For comparison with Eiszmann's "line-up": Rembrandt's


Syndics of the Clothdrapers' Guild. In the same way in which Rembrandt has the syndics all facing the viewer at slightly different angles, Eiszmann has Gandalf looking at an opposite angle to that of Prince Imrahil, Beregond, and Éomer; Pippin alone faces the viewer directly. Rembrandt occupies the hands of two syndics with a ledger of accounts, those of another with a purse, whereas those of a fourth are employed to support him as he rises from his seat. The hands of the fifth syndic as well as those of the servant in the background we can't see. In Eiszmann's painting Gandalf holds his staff with both hands, but, since he is leaning forward from behind the curtain, he is in fact leaning on his staff -- i.e. he has a reason for holding it as he does. Beregond slouches forward with bowed head, unlike the more aristocratic Imrahil (who stands ramrod erect military-style) and the more stoical Éomer. Imrahil holds his hands clasped across his belly; Beregond holds his helmet; Pippin holds a candle to provide Aragorn with light; Éomer's hands we can't see; the lingering servant still holds the pitcher in which he has brought water for the bowl of athelas on the bedstand at the lower right. A great deal of action is shown or implied: the servant has brought water, Beregond has just taken off his helmet and bowed his head; Gandalf is leaning forward; Pippin has been instructed to hold up the candle. IMHO Eiszmann has managed to add the action to the static scene much more cleverly than the Brothers Hildebrandt. Now if she could only do something with the lighting... And nevermind Aragorn's jaw that you probably put in service on the prow of an Arctic icebreaker...

Anyway, which of the two paintings of "The Houses of Healing" do you prefer? What you have done differently? Any details I should have commented on? Do you think I've misrepresented everything? Other comments?

Eiszmann's painting of Faramir interviewed by Denethor:

Rembrandt, Claudius Civilis:

Rembrandt, Zeus and Danaë:

Rembrandt, Syndics of the Clothdrapers' Guild:


Mar 16 2007, 3:54pm

Post #29 of 29 (2529 views)
Actually, those links do work [In reply to] Can't Post

If you want to, you can re-edit to make them 'hot'.

Thanks, this was an interesting discussion. I remember it from before, but not in this detail.

Queen Mary II approaching Honolulu harbor
February 9, 2007, 7:30 am

Elizabeth is the TORnsib formerly known as 'erather'

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