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Foreword
Art plays a valuable part in history, it is an ever changing visual landscape of times before and invokes knowledge of ideals and symbols of what was important to the artist or the time in which they created the work of art.

Works such as these need to be promoted and protected for this generation and the next so that we may have beautiful things to remember times of loss, life, and the emotions that ring in our hearts.

Gratitude to those who have agreed to interviews about their art.


Pre-Ringfall - IY 7787
While most of this work is found in public display within the Halls of The Balladeers depicts several different impressionist pieces of various flowers that existed before the Ringfall. Due to scarcity of water, watercolor pieces are most notably not found due to rationing. This has left the pieces with more visible strokes or a more textured surface due to having to use a knife or other instrument to lay the paint on the canvas.

Colors appear more visible in change of shade and less blended due to more modern mediums because of how oil behaves as a base.


IY 7787 - The Arrival
IY 7787 depicts the first masses of refugees who have arrived upon Ephia's Well. Among those first bands of refugees were painters, musicians, scholars, warriors and politicians who came to shape Ephia's Well.

Work of this period shifted back to the use of watercolor due to increased water supply and less need for rationing of water. While there are not many available sources of painting within this period there is a greater focus on people, a way to find themselves familiar with the faces around them. Among those, one of the more notable artists of 'The Arrival' is spoken to be that of Edha, whose focus was on portraiture. Of her work found within the Palatial Pyramid, it depicts a soft blend of watercolors, with various drips to compliment the colors used within the piece. Ink and charcoal is then used to define the shapes and characteristics of the subject.

Late IY 7787 - Present
The Landscape of Ephia's Well shifts violently as more refugees seem to find their way to Ephia's Well. Becoming less focused on those around us any more, draw an external lens to the experiences and calamities surrounding this bastion of life.

Narwen Alendiel of Ynys Eilir, an Acolyte of the Sisterhood and a former Balladeer, has taken to a recounting of the trials and tribulations in the form mostly of abstract expressionist landscapes before starting experimentation with removing the self from the equation and letting the medium choose what itself to be. Her displayed works within the Krak des Roses tell a story of loss and family, salvation and new horizons, calamities and ending with possibilities of the unknown only described in shape and color.

Isaac Naught, an Apothar of the Tower of Q'tolip, is amongst one of the many refugees that forged his way to Ephia's Well in yearning for sanctuary. His past is shrouded in a mist of hazy recall, though he yet remembers a secluded life with his former Mentor, the teachings he gleaned from those days following him to-date. His works are most notably donned as 'Symbolic Realism', diving deep into his memories to produce works of art that remind him of the beautiful and awe-striking things he has seen in his time.
Where Isaac's works differ from conventional mediums comes down to his blending of ink and arcanistry. By using foundational concepts taught to wizards to view the arcane via a prism of colours, Isaac has managed to combine light refraction and arcane magics to paint upon canvas, creating pieces that look best displayed in sunlight to convey deep and poignant emotions onto the viewer. His works may oft be found displayed outside of the Eagle's Mount.