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smile - Golden cart Frodo

Jan-u-wine's "The Road Back", with illustrations (manips, paintings by Webbe and Cuyp).

Posted on 2010.01.15 at 14:04

Comments:


pearlette
pearlette at 2010-01-15 23:09 (UTC) (Link)
Info on Webbe (Webb) here: :)

http://www.victorianweb.org/painting/webbe/index.html

I thought his 'Twilight' painting had a strong PreRaphaelite influence. :) It's beautiful, very dreamy and mystical, I love the light! It has that 'super-real' effect the PreRaphaelites strove for.

Of your two manips, I particularly love the one of Frodo walking into the morning sunlight. His image blends seamlessly into the original artwork, just lovely. And I love how Frodo is depicted here. Whether it's one of his many pre-Quest walks, or whether he's leaving the Shire with Sam and Pippin, or whether he is on his way to the Havens, he looks strong and determined ... and somehow wistful. This is one of the images of Film Frodo which conform completely to my image of Book Frodo. I wish now we had seen more of this Book Frodo in the films. The films are wonderful, but they're not perfect. ;)

Hmm. I really like this manip, Mechtild. :)

In the screencap of Frodo and Sam leaving the Shire, it looks like the crow perched on the scarecrow behind Frodo is actually perched on his head, LOL.
Mechtild
mechtild at 2010-01-15 23:23 (UTC) (Link)
I love the way you describe Frodo walking in the Shire, Pearl. Yes, he does have a "strong and determined ... and somehow wistful" look to him. It's the light that fires me, though. What a lovely image of Frodo in the Shire.

The Webbe: actually, I put that link in the post, but under the artist's name. But perhaps I need to say something like, "read more about Webbe here", and put the link under the "here". That's what I usually have done. ETA: I went ahead and made that change, Pearl.

I really do love that Webbe painting. And while I can see his relation to the Pre-Raphaelites in terms of style, I can't picture most of my Pre-Raph guys painting purely a landscape. A landscape in which to put a subject, yes, a woman (or a goat, like Holman Hunt), or a larger pictoral narrative, but a landscape as such, a picture with no people, no tale or moral or allegory to illustrate. In that he reminds me of the Renaissance Dutch and Flemish masters, not so much the landscape artists who depicted complete scenes, but the ones whose paintings of faithfully, almost reverently rendered patches of turf, vases of flowers, or produce spread across a table cloth can make me weep.

Edited at 2010-01-15 11:41 pm (UTC)
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