Julie Bell, Pegasus Befriends the Muses, 2018, © Julie Bell
In recent decades, there has been a regrettable tendency among historians and academics to discredit, or even shun, fantasy fiction. Genre titles, they argue, lack the aesthetic merit required to qualify as legitimate, esteemed, literary fiction. Sadly, this misguided criticism is also being applied to modern fantasy illustration, often denying it the fine art status it so richly deserves.
Overcoming this negative stigma is of paramount importance to Noble Worlds Press (NWP), our authors, our artists, and our readers, which is why I was thrilled to find an unlikely ally in The Norman Rockwell Museum.
On June 12, 2021, the museum opened Enchanted: A History of Fantasy Illustration, a first-of-its-kind exhibit featuring 140 works of art by over 100 iconic fantasy artists. Curated by Jesse Kowalski, the show runs until October 31 and is the most comprehensive look yet at the centuries-old history of the fantasy genre.
In conjunction with the gallery’s premiere, the Rockwell Center for American Visual Studies held a virtual symposium entitled Enchanted: Epic Adventures in Fantasy Illustration, which I was lucky enough to attend. Moderated by Jesse, the lively and insightful panels featured Sara Frazetta of Frazetta Girls, Julie Bell, Boris Vallejo, Anthony Palumbo, David Palumbo, Alessandra Pisano, Donato Giancola, and Gregory Manchess, all of whom discussed their art, processes, and inspirations.
(There will be a second virtual symposium on October 22-23, 2021. This one is called Enchanted: Mythology and Fairy Tales. More information can be found at the link below. I will again be in attendance, and I highly recommend that any interested fantasy authors, artists, and fans of the genre check it out.)
What the exhibit and symposia make abundantly clear is that professional fantasy artists are equally as skilled, passionate, committed, and steeped in history as artists of any other category. And the Norman Rockwell Museum is to be commended for offering them a platform to showcase and legitimize their craft.
Why the Norman Rockwell Museum of all places? Well, what many don’t realize is that Norman Rockwell was not only influenced by fantasy illustrators, but that he painted in the fantasy genre himself. (See: The Land of Enchantment painting above). But beyond that personal connection, the museum, the symposium panelists, and NWP all maintain that talent is talent, no matter the context. Whether in writing or painting, worthy pieces should never be automatically discredited due to arbitrary market delineations and/or unfounded preconceptions.
Sadly, at least in certain industry circles, there appears to be a form of elitism at play, where fantasy is summarily dismissed due to its imaginative and escapist themes, “suitable only for children”. This is particularly curious logic considering the vast array of historically significant fine art paintings that spotlight fantastical themes and elements.
The truth is, fantasy art is firmly rooted in art history and fine art, and is arguably the first and oldest genre.
Some of the earliest known cave paintings depict unseen deities and spirits, suggesting the importance of symbolic thought and artistic representation of the unknown. Early Christian art and Greco-Roman mythological art feature angels, demons, gods, demigods, centaurs, dragons, forces of nature, and more. (Greco-Roman mythology also popularized the literary Hero’s Journey, a staple in fantasy fiction originally found in the Sumerian Epic of Gilgamesh.)
The Renaissance is widely known for its revered mythological paintings, and the Victorian Era immortalized fairies as fine art.
“Swiss psychologist Carl Jung theorized that these archetypes of heroes, gods and goddesses, monsters, dragons, angels and demons are part of humankind’s collective unconscious that everyone of us is born with; a part of our DNA,” said Jesse in a recent article for the Berkshire Eagle.
Fantasy is part of the human narrative, and as such, enjoyed a bit of a resurgence during the Pulp Era of the early to mid-1900s. The proliferation of fantasy (and science fiction) adventures in pulp magazines required massive amounts of fantasy illustrations, creating perhaps the first fantasy art movement. Unfortunately, success here was a double-edged sword (and not the good kind), as the emphasis on quantity over quality eroded the genre’s reputation over time.
Then the likes of Tolkien, C.S. Lewis, and Conan the Barbarian burst onto the scene. (An important aside: Frank Frazetta’s art began adorning Conan novel covers at this time, almost single-handedly returning fantasy pulp art to its fine art roots. Frazetta was also influenced by Norman Rockwell and was a huge fan.)
All of this, in turn, gave birth to Dungeons and Dragons, Heavy Metal Magazine, Magic: The Gathering, World of Warcraft, Game of Thrones, and so much more. And there is no question the influence and impact these have had on society and culture, from books, comics, and movies, to video games, toys, cosplay, and role-playing games (RPGs).
Despite this, some still contend that since the bulk of modern fantasy illustrations are commissioned, and therefore commercial, they don’t truly emanate from an artist’s heart and soul. Meaning, they are undeserving of fine art recognition or acclaim. When this issue was raised during the first Enchanted symposium, the panelists were quick to point out that the ceiling of the Sistine Chapel was commissioned work, yet Michelangelo’s masterpiece remains “a cornerstone work of High Renaissance art” to this day.
For those who continue to doubt a fantasy artist’s motive, talent, technique, and passion, just look at the examples here. Who can argue that James Gurney’s and Alessandra Pisano’s works aren’t heavily influenced by, and sometimes indiscernible from, Renaissance, Realism, or Pre-Raphaelite Era paintings? Or that David Palumbo’s “The Fallen” (2014) isn’t a direct spiritual successor to Gustave Doré’s 1871 Gothic Romance piece, “The Black Eagle of Prussia”?
The Black Eagle of Prussia, 1871
The comparisons are endless, and far beyond the scope of this brief blog.
As Jesse Kowalski writes in the Enchanted: A History of Fantasy Illustration companion book (see link below), “Fantasy illustration may not have received its full due just yet, but it’s impact has been immeasurable and indisputable.”
The bottom line is that fantasy authors and artists are no different than those from any other genre, category, or movement. Whether commissioned or not, every piece is a personal work, an inspired human endeavor, a product of untold hours of planning, practice, composition, and dedication.
And in the end, humanity is graced with a new creation. Something never before seen or experienced. Something that immerses us in otherworldly landscapes as elegantly as it explores our innermost psyches. Something that sparks our collective imagination and wonder, driving both personal and societal innovation.
If that’s not fine art, I don’t know what is.
Michael Penman, Publisher
This article was written with the full cooperation and permission of the Norman Rockwell Museum and Jesse Kowalski, Curator of Exhibitions. I am sincerely thankful for their help and support.
ALL PHOTOS PROVIDED BY THE NORMAN ROCKWELL MUSEUM
Enchanted: A History of Fantasy Illustration has been organized by Norman Rockwell Museum, Stockbridge, MA. For more information, click here.
For more information on the Enchanted Virtual Symposia and panelists, click here.
To purchase the Enchanted: A History of Fantasy Illustration hardcover book, click here.