Frazetta and Lord of The Rings - The Lost Chance

 

 

 When people see the Lord of the Rings portfolio pieces that Frazetta did, they often ask why he did them-- and why they weren't more widely published. Many fans lament that Frazetta and Tolkien never officially worked together; one as the master of fantasy art and the other as the master of fantasy writing. Unfortunately for fans of both, it just wasn't meant to be.
However, in the 1970s, a publisher based in Denver, Colorado commissioned Frazetta to create a portfolio of work inspired by Tolkien's three main Lord of the Rings books. However, the pieces "inadvertently ignited a firestorm of criticism from the legion of [Lord of the] Rings fans who took issue with Frank's liberal interpretation of the story. Accustomed to his versions of fantasy characters becoming definitive, he was somewhat mystified by the controversy surrounding the folio. 'Wow, I thought the Burroughs fans were particular,' Frazetta muses, 'but the Tolkien fans were REALLY picky.' (Fenner, 2001)
-Excerpt from the book, "Testament".

Still, though he may have not worked directly on anything official for the Lord of the Rings, he influenced many involved in the movies including director Peter Jackson and the creative company behind the phenomenal special effects and props, Weta Workshop.

You can see the LORD OF TH RINGS Portofolio here:

http://frazettamuseum.com/product/PORT-LotR.html

Taken from : FRAZETTA ART MUSEUM official Facebook Page

 SEE ALSO:
A Day at the Frazetta Art Museum
The Artist as an Explorer of The Extreme

 

Something Old Is Moving in The Shadows

 To be released in early June 2021

Two official BURZUM releases

 Available now from : 

https://black-metal-vendor.com/

Traditionalist in Life, Stoic in Death

 

In the early morning of 8 May 1936 Spengler died of a heart attack at his Munich apartment. His sister buried quitetly, with the request that there be no expressions of sympathy. 

Spengler was buried holding copies of Nietzsche's Thus Spoke Zarathustra and Gothe's Faust.  His grave is marked with a block of polished black granite, chosen by Paul Reusch, inscribed in white with "Spengler": the monument austere, solid, enduring 

 Source:  DailySpengler at Twitter

 
SEE ALSO:
Like That Roman Soldier in Pompeii - Part I
Like That Roman Soldier in Pompeii - Part II

Ascend From The Underworld

 As today is last day the eastern orthodox easter week and the supposed resurrection of Jeshua. Instead of taking place on the celebrations of this middle-east cult, we look back to the original roots of European man. His myths and the art created to accompany them as another expression of the Aryan folk-soul.

“Orpheus Leading Eurydice from the Underworld” (1861)

by 

Jean-Baptiste-Camille Corot

This painting in particular exhibits a dark atmosphere, and the foreground is composed largely of dark, earthy colors. However, the background of the piece, especially on the left, is filled with a silvery fog. Orpheus and Eurydice, on the right, are leaving the Underworld. The fogginess in the background of the left side surrounds indistinct figures, which are presumably the spirits of the Underworld. These spirits, clutching each other in sorrow, have been won over by Orpheus’ song. Orpheus himself holds a lyre in front of him like a beacon. Orpheus is known to have been incredibly gifted with the lyre, with some myths suggesting that he was taught by Apollo himself. His music, capable of bringing even Hades to tears, guides him out of the Underworld just as his singing charmed his way in. His eyes are fixed ahead because of his deal with Hades: if he leaves the Underworld without looking back at his wife, she will be able to return to him and to life. If he looks back, she will be gone forever. Orpheus is walking quickly and with a powerful stride. He holds his lyre strongly, and his cape is one of the only warm colors in the painting. This is because he is the only living being in the picture. The Eurydice and the spirits are dead. Eurydice, on the other hand, has a blank expression on her face. This is because she is still technically dead while in the Underworld. Her expression and lack of color mirrors the spirits in the background, and her limp wrist, clutched by Orpheus, shows that she is not completely conscious and in control.

One important detail to note is that Eurydice is wearing a wedding dress. This means that she is still in the same clothing that she died in, since she was bitten by a snake on her wedding day. When Orpheus travels down to the Underworld to bring her back, he is wearing good clothes, but not wedding attire. He, alive, has had time to change. However, Eurydice will wear the wedding dress, a reminder of their lost love, for the rest of eternity. The wedding dress also shows the time period of which this painting was created. Traditional wedding attire in Roman times consisted of a flame colored veil, a simple robe with a belt, and a hairstyle that is higher in the front. In 1861, when the piece was painted, they had clothing more similar to ours, including the white dress and veil. The hair is also consistent with the style in the 1860s.

 Taken from : https://orpheus-and-eurydice.weebly.com/

 

 

A Prophetic Dream From An Esoteric Visionary

 

Here is the description of a dream from Miguel Serrano, the Chilean Esoteric visionary. According to the European traditions, oftenly the dreams are messages directly from the Gods, and whats best proof that Serrano's dream was just a glimpse of a bleak and dark future as this dream took place back in 1960's and it shows perfectly the world we live today.

 

THAT NIGHT IN ZURICH I had a dream. I saw a large white building several storeys high which looked like a university. It was full of students, most of them were studying the exact or applied sciences, engineering or physics. They all seemed to be sing their knowledge to achive tangible results; they were appplying it automatically without a thought to the significance of what they were doing They were untroubled by doubt and had no concern for vital essences. This university of my dream seemed to represent the world of the future. Themen coming out of the class-rooms were hald and metallic, expressing themselves only in the laws of mechanics, and were themselves becoming products of those laws. The last exponents of a world of flesh and blood had departed and, with their concern for a living earth with gods and demons, were considered by this new generation of anti-men as romantic idealists, the product merely of a decayed bourgeois society. Thus my dream seemed to suggest that the archetype of the future-or indeed of the present since that future has already arrived-would be the man of the atom and the machine, preparing himself for the conquest of space in a University building made entirely of concecrete and surrounded by asphalt.
 

In such a world I would be a total alien, unable to find a single niche from myself. Bu then I realized that people like Hesse and Jung had faced similar difficulties. They had now departed and were now untouched by the mechaniation of the earth and they had achieved other worlds which they had earned through realizing their own beings. I had little time left, but I knew that I myself would now have to make a similar effort so that I would never again return to this earth, but would step to another sphere. This I had to do if I was to save myself from the leaden desert into which the world was being transformed by machines. To escape from that horrible prison, I had to move along the same solitary path that had been followed by my older comrades, those wise men of flesh and blood who were the keepers of my dreams.

Miguel Serrano

Taken from the book "C.G.JUNG AND HERMAN HESSE -  A Record of Two Friendships" 1966

 

SEE ALSO:

The Miguel Serrano Website

 

 

 

For The Man of The 20th of April

 

 

To die thus,
As once I saw him die —
The friend who threw divine thunderbolts and
Glances into my dark youth.
Sportive and profound,
A dancer in the battle —

The most cheerful among warriors,
The gravest among victors,
A fate standing upon his fate,
Hard, reflective, calculating:

Trembling because he triumphed,
Rejoicing in that he triumphed dying:
Commanding while he died —
And he commanded that one destroy ...

To die thus,
As once I saw him die —
Vanquishing, destroying...

Friedrich Nietzsche - The Last Will

 

The Roots and Authentic Meaning of Trolls in Folklore

 

 

A "troll" is actually not "an ugly & evil giant" in folklore. A troll is a wight that you can summon that you can summon or control via chanting. Ghosts, shadows, wraiths, living-dead, etc, are examples of trolls.
The "ugly & evil giant" of European folklore is the ettin. But that is a metaphor...

Troll translates as "(sorcerous) song" or even "spell". Sorcery in Norwegian is still called "Trolldom".

A "spell" is called "fortryllelse". To perform sorcery is "trylle".

Trylle = "to troll"

Ettin translates as "hungry" or "big eater"

"Magic wand" in english

"Troll rod/trolling rod" in Swedish (Trollspö)
Legitimate direct translation of "sorcery" or "magic" from Swedish: Trolling

Source :  Mythic Fantasy Role-playing Game (MYFAROG) Twitter

 

 SEE ALSO:

 The Nordic Origins of Tolkien's Balrog