When I visited Venice last year, I was overcome by the quality and quantity of the art filling the great halls of the famous Palazzo Ducale (Doge’s Palace). The works of Italian Renaissance painters like Paolo Veronese and Tintoretto surround you and nearly overwhelm you in that place. Saints, kings, soldiers, philosophers, angels, and gods throng the walls, ceilings, and frescoes. But you know, if someone could sneak in an armload of paintings by artist Donato Giancola—paintings like “Gandalf at Rivendell,” “Boromir in the Court of the Fountain,” or “The Tower of Cirith Ungol”—and scatter them around the palace, I bet it would take a good long while for some snooty art historian to notice and complain.
Hell, I probably wouldn’t double-take, either, because those paintings would be perfectly at home there among the masters. I suppose if you put up enough of Donato’s masterpieces in the Louvre or the Met, maybe tourists would eventually wonder why Satan looks an awful lot like a Balrog or ask who all those stressed-out, grey-robed, pipe-smoking old men are, and hey, what’s that blonde lady doing with a sword and, whoa, is she facing off against a headless, mace-wielding black knight who’s just been unhorsed from some kind of pterosaur? What Greco-Roman myth is that even from?!
Personally, I was sold on Donato Giancola’s work the moment I first saw his illustrious and mesmerizingly expansive “Beren and Lúthien in the Court of Thingol and Melian.” I later contacted him to ask if I could include some of his art in The Silmarillion Primer. Not only was he cool with it, he turned out to be a surprisingly down-to-earth fellow, and it was only a matter of time before I roped him in for an interview. Good timing, because he’s got a great new book out, too.