The Art of The Lord of the Rings by J.R.R. Tolkien by Wayne G. Hammond, Christina Scull (review)

In 2011, Wayne G. Hammond and Christina Scull presented Tolkien aficionados with The Art of The Hobbit by J.R.R. Tolkien. In the present volume, they have similarly tackled Tolkien’s visual works connected to its great successor. Readers who are familiar with the previous work may be slightly surprised at the difference in the art considered here. Although many readers had been charmed by the illustrations in The Hobbit, one critic in particular, Richard Hughes, had been negative about the artwork. Tolkien, well aware of his lack of training as an artist, took the criticism to heart. This factor, combined with the darker tone and nature of The Lord of the Rings, may have contributed to his change of approach toward his visual expressions of his storytelling, including fewer drawings and paintings. (Personally, I find this unfortunate, as Tolkien had a keen eye for nature and a deft sense of design and imagery.)

In the introduction, Hammond and Scull describe how they have analyzed Tolkien’s various instances of art for the epic novel. They have divided the material into five groups: cartographic, drawings that are pictorial aids to Tolkien’s writing, works done solely for Tolkien’s pleasure, art intended to be used in The Lord of the Rings, and designs he had made for publication but were not used originally. After making these determinations, the authors have presented the material in story sequence, following the general plotline of the novel. This “chronological” arrangement makes sense for the general reader of this book, for we can then hang the individual examples given on the rhythm of the story. The authors also assure us of the qualities of the images we would encounter: “All of the reproductions in this book have been made from the original art, with only a few exceptions as noted, chiefly where the original art no longer exists” (14). As with the previous volume, this work has been printed on squared pages, which allows plenty of space for the display of the art. For the purposes of reviewing, I have sorted the material into four sections: artwork and designs, calligraphy, maps, and artifacts.

Artwork and Designs

Since The Lord of the Rings, like The Hobbit, begins at Hobbiton, the artwork presented in this volume begins with Tolkien’s watercolor of the view “The Hill: Hobbiton-across-the-Water.” The painting gives us the visual layout of the neighborhood of Bag End. It also becomes a reference for the things that are destroyed or changed under Saruman’s regime late in the story. The image sets the reader off from familiar territory.

“Across the Brandywine” shows us two small, very light sketches that Tolkien did of the Buckland Ferry and Brandy Hall. The sketch of the Ferry shows just how close the landing is to Brandy Hall, for the great residence looms in sight of the crossing. For readers, it gives another reason for the Black Rider’s choice not to pursue Frodo and friends there when they crossed on their way to Crickhollow. It was not just that the lights of Brandy Hall were visible from the Ferry but that the Hall had a clear line of sight to the Landing.

“Old Man Willow” is one of the finished drawings that Tolkien did for the novel but that he did not intend for publication. In colored pencil, it shows Tolkien’s fascination with nature. The details of the drawing capture the real and recognizable nature of the willow tree and the ominous forest beyond it.

When the story reaches the Last Homely House, Rivendell, we are shown a detail from a page of aerial views, this one of the valley. It accompanies the full-page watercolor painting Tolkien did of Rivendell. The authors note that in The Lord of the Rings...