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The face that Neave constructed suggested that Jesus would have had a broad face and large nose, and differed significantly from the traditional depictions of Jesus in renaissance art. [82] Additional information about Jesus' skin color and hair was provided by Mark Goodacre, a New Testament scholar and professor at Duke University. [82]
J. R. R. Tolkien accompanied his Middle-earth fantasy writings with a wide variety of non-narrative materials, including paintings and drawings, calligraphy, and maps.In his lifetime, some of his artworks were included in his novels The Hobbit and The Lord of the Rings; others were used on the covers of different editions of these books, and later on the cover of The Silmarillion.
Tolkien's illustrations contributed to the effectiveness of his writings, though much of his oeuvre remained unpublished in his lifetime. However, the first British edition of The Hobbit in 1937 was published with ten of his black-and-white drawings. [1] In addition, it had as its frontispiece Tolkien's drawing The Hill: Hobbiton-across-the-Water.
Commentators including some Christians have taken a wide range of positions on the role of Christianity in Tolkien's fiction, especially in The Lord of the Rings.They note that it contains representations of Christ and angels in characters such as the wizards, the resurrection, the motifs of light, hope, and redemptive suffering, the apparent invisibility of Christianity in the novel, and not ...
His son, Christian Tolkien (1706–1791), moved from Kreuzburg to nearby Danzig, and his two sons Daniel Gottlieb Tolkien (1747–1813) and Johann (later known as John) Benjamin Tolkien (1752–1819) emigrated to London in the 1770s and became the ancestors of the English family; the younger brother was J. R. R. Tolkien's second great-grandfather.
Tolkien's first prose fiction was the 1914 The Story of Kullervo, inspired by the Finnish Kalevala. [12] Painting Kullervo Rides to War by Akseli Gallen-Kallela, 1901. Fafnir, the Nordic journal of science fiction and fantasy, wrote that McIlwaine is an authoritative editor who had assembled "an excellent textual and visual compendium".
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The ruin symbolism in "Nativity" and "Adoration of the Magi" paintings first emerged in Early Netherlandish art around the mid-fifteenth century, in a distinct Romanesque style. [29] Early Netherlandish painters began to associate this style with the architecture of the Holy Land, in contrast to the vague Orientalism of earlier depictions.