The last Folksmother

[Kraftr]

If seen symbolically/esoterically, the male is standing with writing(his political reality) and a potion(the garbage they have to swallow) and the woman(as a symbol of Frya) is devastated.
It could stand for some abandonment, weakness or shortcoming(of Friso, represented by his son, both trying to be strong) of the male toward the female/Frya. I wonder if my other idea may show some other way to see things, or if either of them would be wrong, or just an awfull reality that is just hard to look at. Maybe there is other inspiring interpretations by the forum, or an understanding that this was not a situation that can teach something to be contemplated.

[ott]

I do like the contrast expressed of allowing despair on the one hand and the holding back of emotions trying to make sense of the sitation and possibly finding another way out.
My imagination was that Friso's children would have been younger, but that's not fixed.
(it's BÀRN or BERN not BÁRN, FRISOS can also be spelled FRISO.HIS or FRISO.S)

[Kraftr]

BERN2.jpg (53.08 KiB) Viewed 1531 times

I'm not yet happy with the son but had a good one with the woman and the lighting/shadows

[Kraftr]

Friso.s Bern.jpg (35.26 KiB) Viewed 1511 times

Godis.jpg (52.21 KiB) Viewed 1511 times

Godis crowned by the Magus.

the clothing of the figures is pure fantasy and anachronistic.
work in progress so comments welcome.

[ott]

I like the new drawings, but... Godis (after Overwijn '51)?
Why do you think that is a better interpretation of Wodin?

[Kraftr]

oh i'm sorry, that was the translation I read on the wiki, I didn't realize Godis is Wodin!(and that translations could be so different!)
Is there a thread on this?Seems like an interesting topic this difference.
I was just looking for a suitable topic for drawing something new.
Godis means priest? How did he read Godis in the text? I'm puzzled now.
Also, it occured to me yesterday moderum is plural if I'm correct and the threadtitle refers to Frana so 'tha letsta Moder' would've been better.

[ott]

I didn't realize Godis is Wodin!(and that translations could be so different!)

In the 1951 version of his translation, Overwijn went out of control, particularly when it comes to proper names. After I had added this translation to the OL wiki, I realized that I had better used his 1941 version, but on the other hand, this had been his final word on OL. (Even with his notes and explanations, much of it is hard to make sense of.)
His reasoning for translating WODIN as Godis (Overwijn 1951, p. 53):

Godis' van Godisus = opschepper; spotter, in het Keltisch. Wodin is eenvoudig onmogelijk in dit tijdsgewricht en onder deze omstandigheden. De Oudfriese tekst heeft later dit woord niet aangedurfd (God-isus) en heeft Wodin = woedend, genomen. Vandaar Godaburcht = Godis'burcht = Göteborg.

moderum is plural if I'm correct and the threadtitle refers to Frana so 'tha letsta Moder' would've been better.

ALTHUS WÉR.ET ENDE FON.RE LESTE THÉRA MODERUM.
Dutch: aldus was het einde van de laatste der moeders
So, FON.RE is short for FON THÉRE and MODERUM is possessive of plural mothers: MODERA.

[Kraftr]

I appreciate that the wiki shows all the differences of interpretation. How can I see words are disputed, and what the arguments are? You probably did a lot of work figuring out your own position. Or is it obvious there was an agenda with his changes? On another note; Overwijn in this way does affirm it to be placed in history, and assumed the last writer would have feared the Frisian (Nobility) pride? By his point there should be changes by succesive writers so a history where the manuscript would be the last surviving. It's strange to not accept the text and make up a disagreement out of whole cloth. Maybe he saw a second telling of the story somewhere else? A secret library? Hasn't Wodin been a known name always? Is Godis or any of the other namechanges he made in a nobility almanac?

[ott]

I think he received a blow from the mill's wick in the war, as they say.

[Kraftr]

yes the layering is the next thing I'm going to use more. I like working with the black and white as a first layer, like Carravagio and old masters did to first get the lighting correct. When I study things I like to zoom in, so I start with a rough exploration. The outline/eraser is a good idea, I did it on the brother, but good point to use it standard with the layers. Also the Bob Ross layering already was on my mind,, To redo Kelta, and maybe the landscape Idea of Nearchus and the fire, redo the borg image, or of the boatscene of Franas prediction, or the council of Minerva, with some greek architecture and a crowd, or the yearly tribute caravan to Apollo, the Argonauts, or a seabattle.....
I kind of like the shadowy/shiny vague stage too, a bit of ''black metal' coolness. The crowning of Wodin and the fate of the children are dark, depressing and interestingly relatable to today, Kelta too, so the pieces are both emotional and contemplative to me. I learned that some roughness can actually engage the observer a bit more sometimes than a meticoulisely detailed picture; like the hands of the daughter, I made a sharper layer of them, but the vagueness has a quality that draws you in more I feel. The brother for instance is maybe too sharp I believe. The small window's light is blinding and makes reflections dazzle too, and he is not the main caracter. But I am thinking of using all the techniques I picked up for all previous versions. And also to work on my lines, I was already thinking that aswell. My approach now has been more like painting. Still, you know what you're talking about too. And after all that study and getting back in shape and maybe do some on paper again I hope to also move to canvas.

https://www.youtube.com/watch?v=RClhNSuLC-E
LOOSENESS IN ART