Tolkien Calendars

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Tolkien Calendars, displaying artworks interpreting J. R. R. Tolkien's Middle-earth, have appeared annually since 1976. Some of the early calendars were illustrated with Tolkien's own artwork. Artists including the Brothers Hildebrandt and Ted Nasmith produced popular work on themes from The Lord of the Rings and The Hobbit ; later calendars also illustrated scenes from The Silmarillion . Some calendars have been named "Hobbit Calendar" or "Lord of the Rings Calendar", but "Tolkien Calendar" has remained the most popular choice of name.

Contents

Artists

Starting out

The earliest known production is the 1969 calendar printed in the Meretricious fanzine in December 1968. It was illustrated by Tim Kirk. [1]

Ian and Betty Ballantine of Ballantine Books, publishers of The Lord of the Rings in the United States from the 1960s, brought out a Tolkien Calendar in 1973; Ian Ballantine sent a copy to J. R. R. Tolkien, explaining that he always aimed to please the author. [2]

Also in 1973, Tolkien's publishers Allen & Unwin, having experimented with some Middle-earth posters, decided to produce an "official" calendar of their own, and brought out their first one in 1974, using Tolkien's own illustrations for The Hobbit , The Lord of the Rings , and his then-unpublished legendarium (which would start to be presented to readers three years later as The Silmarillion ). This was successful enough for further calendars featuring Tolkien's artwork to be issued for the years 1976 to 1979. After that, with no more suitable works by Tolkien available, paintings by other artists were used, starting in 1980 with stills from Ralph Bakshi's 1978 animated film The Lord of the Rings . [3] Once they had permission from The Tolkien Estate to use the works of other artists, Allen & Unwin issued Tolkien Calendars every year from 1984 to 2009. [3]

The Brothers Hildebrandt

Tim and Greg Hildebrandt, usually called the Brothers Hildebrandt, became well known for their Tolkien Calendars, which appeared from 1976 until Tim's death in 2006. [4] The illustrator John Howe said he got "a real spark" from the Hildebrandts' calendars, as they showed him that Tolkien's novels could be illustrated. [5]

In 1976, the Tolkien Calendar was reported to be "the bestselling calendar of all time". [6] The 1977 Tolkien Calendar by the Brothers Hildebrandt was reported to have sold "nearly a half-million copies". [7]

Hildebrandt Fellowship of the Ring 1976 Tolkien Calendar.jpg
Illustration of the Fellowship of the Ring by the Brothers Hildebrandt for the 1976 Ballantine Books Tolkien Calendar. Their approach to the challenge of illustrating Tolkien prompted John Howe to become a Middle-earth artist. [5]

Later artists

The publication of The Silmarillion in 1977 opened up new avenues for Tolkien artists, with its account of the tumultuous events of the Second Age of Arda. Well-known artists such as Alan Lee, who served as a concept artist for Peter Jackson's films of The Lord of the Rings, came to illustrate entire calendars such as the HarperCollins production for 2024. [8] Ted Nasmith was sole artist for numerous calendars (including those for 1987, 1988, 1990, 1992, 1996, 2000, 2002, 2003, 2004, 2009, 2010, and 2022). [9] [10] [11] Another artist who later worked as one of Jackson's concept artists, John Howe, was similarly featured on 1987, 1991, 1995, and 2001 Tolkien Calendars. [12]

The 2015 calendar was illustrated with paintings by Mary Fairburn, whose work Tolkien had much liked in 1968, [13] but which had remained unpublished until rediscovered by The Times Literary Supplement . [14] [15] [16] Other calendars, such as that of 2023, presented artworks by multiple artists working in diverse styles, including Jenny Dolfen and Donato Giancola. [17]

Publishers in at least 12 other English-speaking and European countries produced calendars; by 2016, some 433 different editions had been published. [1]

Reception

Self-imitation

Diana Paxson noted in Mythlore in 1984 that Lester del Rey hired Tolkien Calendar artists to illustrate Terry Brooks's 1977 The Sword of Shannara , the whole product "as closely modeled on [The Lord of the Rings] as could be managed without actually committing plagiarism." [18] Mike Perschon, writing in Tor.com in 2012, similarly noted that del Rey hired the Brothers Hildebrandt, in Brooks's own words, to "mimic the Lord of the Rings calendar illustrations they had previously done." [19]

Shannara quest party.jpg
Illustration for Terry Brooks's 1977 The Sword of Shannara by the Brothers Hildebrandt. Brooks stated that he had hired them to "mimic [their own] Lord of the Rings calendar illustrations". [19]

Effects

Nasmith's 1992 calendar, with nine paintings of The Lord of the Rings and three of The Silmarillion, was welcomed in Mythlore as a "stunning, awe-inspiring achievement". [20] "At the Court of the Fountain" revealed the "splendor of the Númenóreans" with its image of the citadel of Minas Tirith, its "low vantage point" allowing the White Tower to soar high in the sunshine. In contrast, "Éowyn and the Lord of the Nazgûl" shows the field of battle with "a sense of stop-action immediacy". Among The Silmarillion scenes, "Morgoth and the High King of the Noldor" gives, according to the review, an epic sense of "Hell-on-Middle-earth" as Fingolfin faces the enormous figure of the Dark Lord. [20]

The independent scholar Denis Bridoux wrote that the early calendars such as the 1976 Hobbit Calendar enabled fans to enjoy Tolkien's artwork in a larger format than those in The Hobbit, and in colour too. The 1977 Lord of the Rings Calendar presented mostly new artwork, adding strongly, he wrote, "to my suspension of disbelief, and [it] enhanced my impression that Middle-earth was a 'real' place." This was so even though, he noted, some of the scenes depicted were not as in Tolkien's narrative. [21]

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<span class="mw-page-title-main">Tolkien's artwork</span> Artwork by J. R. R. Tolkien

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Tolkien's monsters are the evil beings, such as Orcs, Trolls, and giant spiders, who oppose and sometimes fight the protagonists in J. R. R. Tolkien's Middle-earth legendarium. Tolkien was an expert on Old English, especially Beowulf, and several of his monsters share aspects of the Beowulf monsters; his Trolls have been likened to Grendel, the Orcs' name harks back to the poem's orcneas, and the dragon Smaug has multiple attributes of the Beowulf dragon. The European medieval tradition of monsters makes them either humanoid but distorted, or like wild beasts, but very large and malevolent; Tolkien follows both traditions, with monsters like Orcs of the first kind and Wargs of the second. Some scholars add Tolkien's immensely powerful Dark Lords Morgoth and Sauron to the list, as monstrous enemies in spirit as well as in body. Scholars have noted that the monsters' evil nature reflects Tolkien's Roman Catholicism, a religion which has a clear conception of good and evil.

<i>Master of Middle-Earth</i> 1972 book of literary criticism by Paul H. Kocher

Master of Middle-earth: The Fiction of J. R. R. Tolkien, alternatively subtitled The Achievement of J.R.R. Tolkien, is a 1972 book of literary criticism of J. R. R. Tolkien's Middle-earth fantasy writings, written by Paul H. Kocher, and one of the few to be published in Tolkien's lifetime. It focuses especially on The Lord of the Rings and The Hobbit, and also covers some of his minor works such as "Leaf by Niggle" and "Smith of Wootton Major".

<span class="mw-page-title-main">Tolkien's moral dilemma</span> Ethical issue with Orcs in Middle-earth fiction

J. R. R. Tolkien, a devout Roman Catholic, created what he came to feel was a moral dilemma for himself with his supposedly evil Middle-earth peoples like Orcs, when he made them able to speak. This identified them as sentient and sapient; indeed, he portrayed them talking about right and wrong. This meant, he believed, that they were open to morality, like Men. In Tolkien's Christian framework, that in turn meant they must have souls, so killing them would be wrong without very good reason. Orcs serve as the principal forces of the enemy in The Lord of the Rings, where they are slaughtered in large numbers in the battles of Helm's Deep and the Pelennor Fields in particular.

<span class="mw-page-title-main">Tolkien's impact on fantasy</span> A fantasy authors effect on literary genre

Although fantasy had long existed in various forms around the world before his time, J. R. R. Tolkien has been called the "father of fantasy", and The Lord of the Rings its centre. That novel, published in 1954–5, enormously influenced fantasy writing, establishing in particular the form of high or epic fantasy, set in a secondary or fantasy world in an act of mythopoeia. The book was distinctive at the time for its considerable length, its "epic" feel with a cast of heroic characters, its wide geography, and its battles. It involved an extensive history behind the action, an impression of depth, multiple sentient races and monsters, and powerful talismans. The story is a quest, with multiple subplots. The novel's success demonstrated that the genre was commercially distinct and viable.

<span class="mw-page-title-main">Illustrating Middle-earth</span> Depicting Tolkiens fictional world

Since the publication of J. R. R. Tolkien's The Hobbit in 1937, artists including Tolkien himself have sought to capture aspects of Middle-earth fantasy novels in paintings and drawings. He was followed in his lifetime by artists whose work he liked, such as Pauline Baynes, Mary Fairburn, Queen Margrethe II of Denmark, and Ted Nasmith, and by some whose work he rejected, such as Horus Engels for the German edition of The Hobbit. Tolkien had strong views on illustration of fantasy, especially in the case of his own works. His recorded opinions range from his rejection of the use of images in his 1936 essay On Fairy-Stories, to agreeing the case for decorative images for certain purposes, and his actual creation of images to accompany the text in The Hobbit and The Lord of the Rings. Commentators including Ruth Lacon and Pieter Collier have described his views on illustration as contradictory, and his requirements as being as fastidious as his editing of his novels.

References

  1. 1 2 "The Compleat Gyde to Tolkien Calendars". 2016. Archived from the original on 20 November 2023. Retrieved 24 November 2023.
  2. ↑ Mythlore Staff (1973). "The Mythopeic Press: A Proposal". Mythlore . 3 (1). Article 5.
  3. 1 2 Holford, Neil. "Tolkien Calendars". TolkienBooks.net. Retrieved 24 November 2023.
  4. ↑ "The Art of The Brothers Hildebrandt". Archived from the original on 29 April 2011.
  5. 1 2 "Biography". John Howe. Archived from the original on 6 January 2012. Retrieved 7 January 2012.
  6. ↑ Maine Campus Staff (14 December 1976). "Maine Campus December 14 1976". University of Maine . Retrieved 24 November 2023.
  7. ↑ Timmerman, John H. (1978). "Fantasy literature's evocative power". Christian Century (17): 533–537. Archived from the original on 12 February 2019.
  8. ↑ Lee, Alan. "Tolkien Calendar 2024 Tolkien Calendar 2024, inside view Tolkien Calendar, inside view Tolkien Calendar 2024 Tolkien Calendar 2024". British Library. Archived from the original on 24 November 2023. Retrieved 24 November 2023.
  9. ↑ "Ted Nasmith". HarperCollins . Retrieved 3 February 2021.
  10. ↑ "Tolkien Calendar". The Tolkien Shop. Retrieved 3 February 2021.
  11. ↑ Nasmith, Ted (2021). "Tolkien Calendar 2022". Archived from the original on 24 April 2021. Retrieved 24 November 2023.
  12. ↑ Howe, John (2006). "Portfolio: Calendars, diaries and maps". Archived from the original on 17 March 2006. Retrieved 24 November 2023.
  13. ↑ Collier, Pieter (26 March 2014). "Tolkien Calendar 2015 features artwork from artist Mary Fairburn from The Lord of the Rings". Tolkien Library. Retrieved 5 November 2023.
  14. ↑ Tankard, Paul (14 September 2012). "An Unknown Vision of Middle-earth: Mary Fairburn: Tolkien Illustrator". Times Literary Supplement .
  15. ↑ Tankard, Paul (2017). ""Akin to my own Inspiration": Mary Fairburn and the Art of Middle-earth". Tolkien Studies . 14 (1). Project Muse: 133–154. doi:10.1353/tks.2017.0010.
  16. ↑ Tankard, Paul (2019). "An Art to Depict 'the Noble and the Heroic': Tolkien on Adaptation, Illustration and the Art of Mary Fairburn". Journal of Inklings Studies. 9 (1): 19–42. doi:10.3366/ink.2019.0025.
  17. ↑ "Tolkien Calendar 2023". HarperCollins. Archived from the original on 25 March 2022. Retrieved 24 November 2023.
  18. ↑ Paxson, Diana (1984). "The Tolkien Tradition". Mythlore . 11 (1). Article 19.
  19. 1 2 Perschon, Mike (21 December 2012). "The Annotated Sword of Shannara: Tolkien Lite, and That's Alright!". Archived from the original on 13 July 2015. Retrieved 24 November 2023.
  20. 1 2 DiSante, Paula (1991). "Nasmith Victorious". Mythlore . 17 (4): 50–52. JSTOR   26812803.
  21. ↑ Bridoux, Denis (2020). "Tolkien's Art: Publications and Exhibitions". Hither Shore (17). German Tolkien Society / Oldib Berlag Oliver Bidlo: 191–192. ISBN   978-3-939556-93-0.
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