As he moves slowly away, Wotan turns and looks sorrowfully back at Brünnhilde - Arthur Rackham
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Descrizione
A dramatic illustration by Arthur Rackham depicting Wotan's sorrowful departure from Brünnhilde, rendered in his signature ink and watercolour style.
This illustration by Arthur Rackham depicts a scene from Richard Wagner's opera cycle, Der Ring des Nibelungen. Specifically, it captures the conclusion of Die Walküre, where the god Wotan leaves his daughter Brünnhilde in a magical sleep upon a mountain peak. Rackham produced a series of illustrations for the Ring cycle between 1910 and 1911, demonstrating his mastery of atmospheric storytelling through ink and watercolour.
The composition focuses on the silhouette of Wotan, rendered in dark, muted tones against the swirling, ethereal flames of the Loge-fire. Rackham employs his characteristic technique of fine, calligraphic ink lines to define the gnarled branches of the foreground tree and the texture of the god's cloak. The background is dominated by heavy, brooding clouds and the rising, smoke-like forms of the fire, which create a sense of scale and isolation. The colour palette remains restrained, relying on earthy browns, ochres, and soft greys to convey the sombre mood of the departure.
Rackham's approach to this mythological subject avoids overt sentimentality, choosing instead to focus on the weight of the moment. The contrast between the solid, dark figure of Wotan and the translucent, shifting forms of the fire demonstrates his ability to balance graphic clarity with painterly suggestion. This work reflects the period's fascination with Germanic mythology and the high level of technical skill associated with early twentieth-century British book illustration. The print captures the fine details of the original ink work, preserving the delicate washes and the precise linework that define Rackham's style.
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As he moves slowly away, Wotan turns and looks sorrowfully back at Brünnhilde - Arthur Rackham
Artist Biography
Arthur Rackham
He came back to London and got a job as an insurance clerk at the Westminster Fire Office, studying part-time at the Lambeth School of Art. In 1892 he left insurance for the Westminster Budget, where he worked as a reporter and illustrator. The illustration work took over. His watercolour of Winchelsea had already been accepted by the Royal Academy and sold for two guineas when he was twenty-one.
He met the painter Edyth Starkie over a garden fence. She encouraged him to stop imitating other illustrators and follow his own instinct, which ran toward twisted trees, gnarled roots and creatures that lived in the gaps between the real and the imagined. They married in 1903. That same year he illustrated The Fairy Tales of the Brothers Grimm, which was reprinted twice and made his name.
His style fused northern European line drawing (Durer, Altdorfer) with Japanese woodblock composition. The trees have faces. The roots have fingers. Peter Pan in Kensington Gardens and Rip Van Winkle followed, the latter a turning point in book production: its fifty-one colour plates demonstrated that colour-separated printing could accurately reproduce original artwork.
Guillermo del Toro cited Rackham as an influence on the Faun in Pan's Labyrinth. Brian Froud credited him with sparking an interest in fairy illustration. He worked until the end: his final commission, The Wind in the Willows, was completed in 1939 shortly before his death at seventy-one.
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