Gustave Doré

Quando aceitamos como descritor da poesia de Castro Alves o rótulo abolicionista, enfatizamos aquele que é possivelmente seu aspecto histórico mais A legitimidade dessa leitura não delimita, contudo, umafronteira de atuação crítica, posto que a ela se acrescenta uma perspectiva dialética.

s (1832-83) illustrations and Dante's Divine Comedy have become so intimately connected that even today, nearly 150 years after their initial publication, Doré's rendering of the poet's text still accompanies, or even determines, our vision of the Commedia. Indeed, Doré's illustrations together with Dante's text have appeared in roughly 200 editions, with translations from the poet's original Italian available in multiple languages. 2 Doré's fame as Dante's illustrator is worldwide, and the pervasiveness of his Commedia imagery is undeniable. Yet there was another side to Doré. He was also a prolific painter and sculptor with ambitions for acceptance in the world of the beaux-arts salon -ambitions he supported with substantial profits accrued from the literary illustrations for which he is best known.

Focusing on a particular example from an illustrated journal published 1869, this article examines the role of the rebus-- a picture-puzzle that originated in early-modern print culture-- within the journal. It argues, against the grain of much writing about the illustrated press as commercial and reactionary, that the rebus demands consideration of the journal's depth, opacity, and incongruity, invoking a "nocturnal" or dream-consciousness.

Dante’s Divine Comedy is an early masterpiece of European literature as a whole and a medieval prototype of modern mythopoeic literature. In creating his epic mythopoeic narrative, Dante utilizes widely recurring narrative metaphors and symbolic topographical motifs adapted from pre-existing mythologies to describe a mortal’s mythic journey of descent into the mythical Underworld or Land of the Dead. The essay examines Dante’s nekyia or archetypal hero journey of descent into the netherworld of Dis, the archetypal Land of the Dead, led by the spirit of Virgil as they travel ever downward through the dark depths of The Inferno’s underworld landscape. The paper analyzes the poetic text of The Inferno (augmented by the iconographic, pictorial art of Gustave Dore), focusing on symbolic, structural depth-imagery of a conventional nature in Dante’s literary narrative adapted from recurring primordial images found throughout the world’s mythologies and ritual narratives. The Inferno is interpreted as a medieval literary example of mythopoeic imagery common to ancient hero myths (including The Aeneid) and initiatory ritual schema the world over, interpreted as loci of psychological meaning in the interdisciplinary works of psychologist Carl G. Jung, mythologist Joseph Campbell, and others.

  Keywords: archetypes, Carl G. Jung, comparative mythology, Dante, depth 
  psychology, Divine Comedy, iconography, Joseph Campbell, literature, mythology,
  nekyia

La ricerca verte sulle modifiche di carattere iconografiche che hanno riguardato alcune creature prodigiose del bestiario classico: Cerbero, le sirene e i draghi marini. L’obiettivo di questo studio è quello di analizzare come alcune di queste creature siano state tramandate, da una cultura all’altra, a livello iconografico.

The research focuses on iconographic changes that have affected some prodigious creatures of classic bestiary: Cerberus, the mermaids and the sea dragons. The aim of this study is to analyze how some of these creatures have been handed down, from one culture to the other, at iconographic level.

La Biblia de Gustave Doré sigue configurando la memoria bíblica visual  del siglo XXI. Su influencia puede apreciarse en el cine o en el cómic. La comunicación expone los temas y peculiaridades compositivas del artista galo centrándose en cómo representa monstruos, grandes animales, batallas o escenas de destrucción y héroes.

https://www.academiedesbeauxarts.fr/sites/default/files/inline-files/academie-des-beaux-arts-colloque-proust-sophie-basch.pdf

Cet article postule que, contrairement à une idée reçue depuis qu'Emmanuel Berl a reconnu en eux les trois arbres de Rembrandt, les trois arbres d'Hudismenil pourraient renvoyer à l'oeuvre de Théodore Rousseau. Ce peintre n'est mentionné qu'une seule fois dans la Recherche, mais à un moment stratégique, lors du concert de Morel chez les Verdurin. À partir de ces indices l'article cherche à déchiffrer le véritable message que les trois arbres cherchaient à délivrer au Narrateur.

This article postulates that, contrary to an idea received since Emmuel Berl recognized in them the three trees of Rembrandt, the three trees of Hudismenil could refer to the work of Theodore Rousseau. This painter is mentioned only once in À la recherche du temps perdu, but at a strategic moment, during the Morel concert at the Verdurins. From these clues the paper seeks to decipher the true message that the three trees sought to deliver to the Narrator.

Questa  ricerca si propone di esporre il percorso creativo di uno dei più grandi incisori del secolo XIX: Gustave Doré, approfondendo , in particolare, il percorso illustrativo dell'autore e l'intensità delle sue opere più celebri. La tesi triennale qui esposta tratta infatti nel particolare la lavorazione della 'Ballata del Vecchio Marinaio' di S.T. Coleridge a cui Doré dedicò anima e corpo per la realizzazione di un prodotto intenso e unico nel suo genere. Buona lettura.

The purpose of this thesis is the semiotic narratological study of the French fairy tale Le Maître Chat ou Le Chat Botté by Charles Perrault (1697), as illustrated by Gustave Doré (1862). The analysis is based on the narrative theory of Algirdas Julien Greimas, Sémantique Structurale: Recherche de méthode (1966), and on its application proposed by A.-Ph. Lagopoulos and K. Boklund-Lagopoulou in Theory of Semiotics: The Tradition of Ferdinand de Saussure (2016). This methodology attempts a new approach to the narrative structure of the well-known fairy tale and its illustration, following the path of the genetic trajectory "in reverse", starting from the surface level of discourse and penetrating to the deep level of the narrative syntax and semantics of the two texts (verbal and visual) with the aim of revealing their hidden meaning.

La trasposizione in altri generi letterari e nelle arti  gurative lascia trasparire la poliedrica identità del personaggio-Chisciotte e al tempo stesso la sua disponi- bilità ad assumere caratteri sempre nuovi e inediti. Elementi tassiani e antichissimi topoi pittorici si aggiungono così a più attesi riferimenti ariosteschi, nel passaggio dalle ribalte settecentesche a quelle di Broadway, ad esempio, o dalle xilogra e di Tony Johannot alle incisioni di Pinelli, che suggeriscono anche un possibile dialo- go per immagini con il capolavoro manzoniano.

Resumen En este artículo se examina la visión con que Gustave Doré (1832-1883) dio forma al bosque de los suicidas en sus ilustraciones para la Divina Comedia de Dante Alighieri en 1861, partiendo de la recepción de la crítica así como de una comparativa entre el texto original y las distintas obras que han ilustrado el canto a lo largo de los siglos. El objetivo es dilucidar hasta qué punto la crítica contemporánea del artista acertó en su visión peyorativa del tema planteado y, al mismo tiempo, ubicar y definir la visión romántica del canto. Las fuentes y los datos aquí tratados descubren cómo Doré, lejos de lo prejuzgado, abordó la ilustración de la Comedia con un planteamiento innecesariamente correcto o incorrecto, sino hijo de su época, de su sensibilidad y con diversas conexiones, ineludibles, con el pensamiento estético del momento. Abstract The present article seeks to dig into Gustave Doré's (1832-1883) vision of the Wood of the Suicides from his illustrations of the Divine Comedy (d. 1861), establishing a comparison between its critical reception, the works that have illustrated the chant over the centuries and Doré's works themselves. A goal here is to glimpse if negative criticism had any basis beyond the prejudices of that period and, at the same time, to showcase the Romantic vision that transformed the chant into something completely new in the XIXth century. The sources prove how Doré, far from what critics intended to see in his works, approached Dante Alighieri's capolavoro with a neither correct or incorrect vision, but a vision that is a part of his own time and sensitivity, with several inescapable connections with his contemporary aesthetic views and theories.

According to Ray Harryhausen, a special effects expert in the film industry, “Gustave Doré would have made a great director of photography . . . He saw things from the point of view of the camera.” Doré’s work has had a permanent impact on the imaginative realm of film since its very early days. Almost every film about the Bible since The Life and Passion of Jesus Christ produced by Pathé in 1902 refers to his illustrations, and every film adaptation of Dante or Don Quixote has used him as a model, from Georg Wilhelm Pabst and Orson Welles to Terry Gilliam. All films dealing with life in London in the Victorian era by directors ranging from David Lean, to Roman Polanski and Tim Burton draw on the visions in London: a pilgrimage for their sets. A large number of dream fantastical or phantasmagorical scenes take their inspiration from Doré’s graphic world, beginning with Georges Méliès’ A Trip to the Moon in 1902. In the realm of cartoons and animation, Walt Disney owes a huge debt to Doré. Doré primal forests, from Atala in particular, were also used in the various versions of King Kong from 1933 to the 2005 film by Peter Jackson, who had already drawn on Doré for The Lord of the Rings. Jean Cocteau was also indebted to the illustrations for Perrault’s Fairy Tales for his Beauty and the Beast (1945), as was George Lucas for the character Chewbacca in Star Wars (1977). This chapter of the exhibition catalogue “Gustave Doré: Master of Imagination” (Musée d’Orsay in Paris and National Gallery of Canada in Ottawa), which take shape in film excerpts “hanging” next to the works, shows how the silver screen has etched Doré into the 20th century imagination.

The essay focuses on the Hogarth's book illustrations as early works where the British artist built an innovative representation of the time. This attitude, as well known, is the most important in the conception of the Hogarth's famous "Progresses". Moreover, Hogarth usually introduced, in his work, grotesque figures as a way to give a realist taste to the representation of his stories. This was one of the most important legacy that Hogarth has left to his nineteenth-century successors such as Francisco Goya or Honoré Daumier: the last paragraph of the chapter illustrates, in broad terms, this history.

On connaît l'importance des bals publics dans le Paris romantique, reflet d'une dansomanie collective, doublée d'un goût du spectacle, qui s'expriment plus particulièrement à l'occasion du carnaval. Dans ce contexte hautement festif, le bal de l'Opéra connaît, sous la monarchie de Juillet, une attractivité nouvelle, sous l'impulsion notamment de Louis Véron, son directeur-entrepreneur, et de Philippe Musard, chef d'orchestre à succès engagé pour diriger ces soirées. Fortement médiatisé, le bal de l'Opéra fait courir le Tout-Paris, suscitant des représentations venant nourrir le mythe de la fête parisienne et d'une communion sociale que symbolise traditionnellement le carnaval. Il ne s'agira pas ici d'en retracer l'histoire, par ailleurs fort bien documentée, mais plutôt de souligner les tensions qui traversent ses représentations, lesquelles permettent de faire revivre, au cœur de la modernité urbaine, l'imaginaire de la bacchanale.

L’ibridazione di arti e generi differenti è uno degli aspetti peculiari dell’estetica di Balzac, i cui scritti sorprendono per l’originalità e l’insospettabile modernità. Nella prima e seconda parte della tesi saranno messi in luce i punti di intersezione fra romanzo e teatro, mentre nella terza si mostrerà come questi due generi, dialogando con l’illustrazione, diano vita a testi atipici, talvolta inclassificabili, o meglio anticanonici, che svelano un’altra faccia della sua poetica. Ogni sezione è costituita da testi, la cui specificità risiede nella capacità di coniugare stili, linguaggi, arti differenti, mettendo a nudo i meccanismi propri del mélange: la teatralità nelle opere narrative; il romanzo nel teatro; l’inclusione dell’immagine nel testo; e la scrittura balzachiana che si modella in base alle singolarità di ogni fenomeno.

C'est en arrivant à Paris que Gustave Doré développe son talent pour la caricature et c'est cette même ville qui devient un sujet de choix pour le jeune artiste.
Dans cette série de lithographies, il campe la société parisienne des années 1850 dans un redoutable bestiaire et pose un regard tour à tour acerbe et amusé sur ses contemporains, qui sous ses traits se regroupent en meutes ou troupeaux, proies et prédateurs.

la grande oreille -n°57 conte 76 • 77 resté la référence du très moderne et stylé « Chat potté » [ill. 1]. Illustrateur de Rabelais, de Dante, de La Fontaine, d'Edgar Allan Poe, de Cervantes, de la Bible…, cet artiste compulsif qui avait pour ambition d'illustrer tous les classiques de la littérature occidentale signe chez Hetzel, en 1862, les planches d'une édition des Contes de Perrault qui marquent de façon indélébile la vision des contes de fées. Sous le féerique, Doré révèle la part de macabre : dans un réalisme exacerbé, ses images donnent corps aux angoisses, désirs et déraisons qui nourrissent toute l'obscure profondeur de ces récits fondateurs. Ses illustrations vont dès lors « hanter » l'imagination des lecteurs. Tout d'abord, par ce caractère délicieusement effrayant -les yeux exorbités de son ogre tranchant la tête de ses enfants [ill. 2] de son Barbe-bleue ou de son Chaperon rouge découvrant sa « mère-grand » [ill. 3] reflètent parfaitement le regard suscité chez le lecteur. Ensuite, par la manière dont les enfants vont s'approprier ces illustrations grand format, en les « apprenant par coeur » au fil des lectures, s'immergeant en chaque détail, se projetant en chaque recoin. Surtout que le luxueux album de Hetzel ne se range pas dans une bibliothèque : il « s'expose » sur les tables de salon, comme un vrai joyau culturel, toujours prêt à être ouvert, consulté, admiré… Cette imagerie n'en est pas pour autant réservée à une élite, au contraire : elle se diffuse partout, et par tous les moyens. Gustave Doré, qui n'hésite pas à faire appel aux graveurs les plus qualifiés de l'époque -pas moins de onze pour ses 40 illustrations de Perrault, attribuées au cas par cas selon les spécificités de chaque des-Si le Musée d'Orsay et le Musée des Beaux-Arts du Canada nous font « redécouvrir » Gustave Doré, c'est pour mieux nous montrer combien personne -et surtout pas les adeptes des contes, tant sur papier que sur écran -n'a oublié le dessinateur du chat botté, ILLUSTRATION Le royaume de Gustave Doré VALENTINE ROBERT Des toutes premières jusqu'aux plus récentes productions cinématographiques, les images de Doré ne cessent d'influencer l'imaginaire collectif. Roi des illustrateurs, il demeure à lui seul un univers à redécouvrir. Ill. 1 -Du Chat botté de Gustave Doré (affiche du Musée d'Orsay) au Chat potté de Shrek (Dreamworks, 2001).

La Divina Comedia de Dante Alighieri ha llegado a nuestros días como una de las obras más importantes de la literatura universal. La llamada Commedia abrió las puertas hacia la modernidad de la ciudad de Florencia, cuya importancia perduró en el tiempo hasta la actualidad. En este sentido, el arte ha sido testigo directo del cómo y porqué una obra del siglo XIV, como es la del poeta florentino, ha logrado pervivir con la misma importancia que tuvo en origen en la memoria colectiva. Desde las primeras representaciones artísticas en manuscritos iluminados, momento en el que se configuró el imaginario dantesco tal y como lo conocemos, hasta lograr hacerse eco en los nuevos medios artísticos. Dante y su obra son, aún hoy en día, un hito cultural totalmente asentado en nuestra sociedad.

Archive: http://www.snrk.de/SnarkHunt_PDFs.7z (247 MiB) is a collection for off-line reading of my assumptions (PDF articles) on Henry Holiday's allusions in Lewis Carroll's "The Hunting of the Snark". The 7z archive contains the PDFs published in https://independent.academia.edu/GoetzKluge/The-Hunting-of-the-Snark

License: You need a password to open the archive:
CC_BY-NC-ND_4.0
This just is meant to make you aware of the (friendly) license for my articles: https://creativecommons.org/licenses/by-nc-nd/4.0/

Updates (2017-07-10): http://www.snrk.de/SnarkHunt_PDFs_Updates.7z contains articles added or updated after 2016-05-09.

7z: http://www.7-zip.org/

Write to me, if you need more material (>600 MB).

En 1862, un hispanista francés, el barón Davillier, y el célebre ilustrador Gustave Doré emprendieron un largo viaje por las tierras de una España que aún conservaba numerosos retazos románticos. Ambos amigos fueron enviando sus impresiones a la editorial Hachette, que fue publicándolas, en forma de entregas, de 1862 a 1873 en la revista Le Tour du Monde. Un año más tarde, Hachette las editó de forma conjunta y el libro obtuvo un rápido éxito y fue traducido, pocos meses después, al italiano y, más tarde, al inglés y al danés. El Viaje por España es un precioso archivo de estampas pintorescas y de testimonios sociohistóricos, pero incluye también un apreciable volumen de datos folclóricos. Veamos uno de ellos, correspondiente a la provincia de Cádiz:

[left]: Gustave Doré: Plate I of the illustrations to chapter 1 in Miguel de Cervantes' "Don Quixote" (1863 edition). [right]: Gustave Doré: Illustration to John Milton's "Paradise Lost", Book VI, 1866. [center]: Henry Holiday (engraver: Joseph Swain): Illustration to chapter "The Beaver's Lesson" in Lewis Carroll's "The Hunting of the Snark", 1876.

Segments from
※ (in mirror view) one of Gustave Doré's illustrations (1863) to Miguel de Cervantes' "Don Quixote",
※ Matthias Grünewald's "Temptation of St Anthony", Isenheim Altarpiece (c. 1512~1516), Musée Unterlinden, Colmar, France.

https://snrk.de/how-gustave-dore-might-have-played-with-pareidolia/

Il saggio traccia una linea (à rebours: da George Bellows a William Hogarth, passando per Manet, Degas, Dorè, Daumier e David) della rappresentazione del movimento e del tempo nella cultura visiva moderna attraverso oggetti e personaggi sospesi a mezz'aria, colti cioè nell'acme della traiettoria determinata da un lancio.

IncidentalSnarkhunter.pdf was about how I got into Snark hunting. It was a PDF file made from http://www.ipernity.com/doc/goetzkluge/34431511. But as that file is not so important (and the hyperlinks did not work), I removed it from academia.edu. You still can find it in the Snark Archive (https://www.academia.edu/12408574/Snark_Archive).

Just in a nutshell: In December 2008 I incidentally discoverd an allusion to an etching by Marcus Gheeraerts the Elder in one Henry Holiday's illustrations to Lewis Carroll's "The hunting of the Snark". Since then I found more sources, e.g. works by Gustave Doré, Philip Galle (after Maarten van Heemskerck), Marcus Gheeraerts the Younger, Matthias Grünewald, John Martin, J.E. Millais and William Sidney Mount. Also, in "The Hunting of the Snark", there may be pictorial and textual allusions to Charles Darwin's Beagle voyage and Thomas Cranmer's burning.

L'articolo analizza le citazioni ecfrastiche della Divina Commedia nell'opera di Primo Levi e dimostra la loro preponderanza nella produzione del chimico-scrittore. Due incisioni di Gustave Doré, in particolare, si ancorarono alla mente del giovane Levi quando, da piccolo, sfogliò e risfogliò l'opera dell'artista francese, fissandosi come un'icona inossidabile che raffigurava i versi di Dante. Ritornarono alla sua attenzione in età matura, sottoforma di simboliche reminiscenze, durante la sua attività di scrittore, favorendo la sua creatività letteraria e dimostrando un ascendente artistico che l'autore stesso negava di avere. L'intento del presente saggio è dunque dipanare il fil rouge della visualità nell'opera di Levi: tramite la comparazione dei passi e delle raffigurazioni della Commedia, ricostruendo la cronologia che intercorre tra questi rapporti, l'obiettivo è ricostruire l'influenza dell'arte nella vita e nella produzione letteraria del chimico-scrittore.

The first biblical movies have been a subject of research in several works. However, there is a lack in studying the presence of Mary Magdalene in the first cinematographic productions. The aim of this paper is to analyze these first appearances of the woman from Magdala in the movies. In particular, the end of Magdalene’s anonymity begins with two productions: The Life and Passion of Jesus Christ (Ferdinand Zecca, 1902-1907) and The Birth, the Life and the Death of Christ (Alice Guy, 1906). Thus, these two films will be analyzed paying special attention to Mary Magdalene and its previous cultural references as well as the specific features of the movies in this period. In addition, issues related with the consequences derived from male and female authorship are discuss.

Texto para la exposición individual "Superinfierno" de Ivoly Noguera, realizada en el espacio de arte contemporáneo ABRA (Caracas, Venezuela), en febrero de 2017. Noguera intervino las ilustraciones de Gustave Doré provenientes de un ejemplar de 1905 de la "Divina Comedia" de Dante, superponiendo globos de diálogo recortados de un ejemplar de Supercómic, conocida revista de tiras cómicas. El texto revisa procesos como la apropiación y resignificación de las imágenes, así como la potencialidad de recursos como el collage y el montaje.