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Gustave Doré (1832–83) was perhaps the most successful illustrator of the nineteenth century. His Doré Bible was a treasured possession in countless homes, and his best-received works continued to appear through the years in edition after edition. His illustrations for Dante's Divine Comedy constitute one of his most highly regarded efforts and were Doré's personal favorites.
The present volume reproduces with excellent clarity all 135 plates that Doré produced for The Inferno, Purgatory, and Paradise. From the depths of hell onto the mountain of purgatory and up to the empyrean realms of paradise, Doré's illustrations depict the passion and grandeur of Dante's masterpiece in such famous scenes as the embarkation of the souls for hell, Paolo and Francesca (four plates), the forest of suicides, Thaïs the harlot, Bertram de Born holding his severed head aloft, Ugolino (four plates), the emergence of Dante and Virgil from hell, the ascent up the mountain, the flight of the eagle, Arachne, the lustful sinners being purged in the seventh circle, the appearance of Beatrice, the planet Mercury, and the first splendors of paradise, Christ on the cross, the stairway of Saturn, the final vision of the Queen of Heaven, and many more.
Each plate is accompanied by appropriate lines from the Henry Wadsworth Longfellow translation of Dante's work.
- Sales Rank: #164889 in eBooks
- Published on: 2012-09-21
- Released on: 2012-09-21
- Format: Kindle eBook
From the Back Cover
Gustave Doré (1832–83) was perhaps the most successful illustrator of the nineteenth century. His Doré Bible was a treasured possession in countless homes, and his best-received works continued to appear through the years in edition after edition. His illustrations for Dante's Divine Comedy constitute one of his most highly regarded efforts and were Doré's personal favorites.
The present volume reproduces with excellent clarity all 135 plates that Doré produced for The Inferno, Purgatory, and Paradise. From the depths of hell onto the mountain of purgatory and up to the empyrean realms of paradise, Doré's illustrations depict the passion and grandeur of Dante's masterpiece in such famous scenes as the embarkation of the souls for hell, Paolo and Francesca (four plates), the forest of suicides, Thaïs the harlot, Bertram de Born holding his severed head aloft, Ugolino (four plates), the emergence of Dante and Virgil from hell, the ascent up the mountain, the flight of the eagle, Arachne, the lustful sinners being purged in the seventh circle, the appearance of Beatrice, the planet Mercury, and the first splendors of paradise, Christ on the cross, the stairway of Saturn, the final vision of the Queen of Heaven, and many more.
Each plate is accompanied by appropriate lines from the Henry Wadsworth Longfellow translation of Dante's work.
Dover (1976) original publication.
About the Author
Paul Gustave Louis Christophe Doré (1832–1883) was a French artist, printmaker, illustrator and sculptor. Doré worked primarily with wood engraving, and that is in this field that he gained enormous worldwide popularity and renown, mainly for the plates he did for the "Divine Comedy" of Dante and for the "Fables of La Fontaine," which continue today to inspire countless illustrators, film directors and other artists.
Most helpful customer reviews
78 of 81 people found the following review helpful.
Gustave Dore's superb engravings for Dante's classic work
By Lawrance Bernabo
I have a horrible confession to make: I much prefer to look at Gustave Dore's fantastic and grotesque scenes depicting Dante's "Divine Comedy" with just appropriate lines from the Longfellow translation then have to deal with all those tercets. Even worse, I think these 135 illustrations from the 1861 edition comprise Dore's best body of work, even better than his famous Bible illustrations completed five years later, mainly because I think Dore's style is better suited to the depths of Hell and the realms of Purgatory, rather than the stories of the Bible. Clearly Dore found his kindred soul mate in Dante and even though he did classic engravings to illustrate everything from "Don Quixote" to "The Rime of the Ancient Mariner," this is his monumental achievement. Many admirers like the plates depicting the souls writhing in the fiery torments of Hell, but my favorite has to do with the lower level of hell where Dante and Virgil encounter the souls frozen in ice (Canto XXXII). This Dover edition is relatively inexpensive, which means the paper quality is geared towards economy rather than reproduction, but I think that it a satisfactory tradeoff, all things considered.
18 of 19 people found the following review helpful.
Another astonishing set by the greatest of illustrators
By Robert Moore
As I write this, I am a member of a book group that is working through the three parts of Dante's COMEDY. I am also a fan of Gustave Dore's illustrations, so it was a given that I would get a copy of this to accompany my trip through hell, purgatory, and the heavens with Dante. After having worked through these illustrations, looking at each one as I read the relevant passage in Dante, I simultaneously feel that any enthusiastic reader of Dante should own this book, while at the same time harboring some mild disappointment.
Most of the illustrations are marvelously done. Dore magnificently captures the inner spaciousness and abandonedness of hell. The landscapes, the pits, the caverns, the abysses are all marvelously drawn and conceived. I'm not sure there has ever been a better illustrator than Dore, and in this volume we have Dore at his best. Or, rather, near his best. In fact, I found these illustrations disappointing in two regards. First, virtually all of his human figures look like parodies of classical nude studies. One of the joys of illustrations by Dore to accompany DON QUIXOTE is the wonderful naturalness of his characters. Quixote looks very much like we imagine Quixote, and so does Sancho Panza. But in the COMEDY, Dore's figures look like slightly overweight body builders striking uncomfortable poses. There is an air of artificiality that I at times find somewhat overwhelming. The denizens of hell look spectacularly fit and well-fed. Where are the skinny sinners? The scrawny reprobates?
The second way in which I found the illustrations disappointing is in the depiction of Dante, Virgil, and Beatrice. Dante is actually drawn to correspond as closely as possible with what we know about his appearance. We have a host of drawings of him from the century after his death, though it is not clear whether we have any contemporary drawings. Dante was described as being somewhat lean with a pronounced stoop. The stoop is in full evidence in all of Dore's representations of him. Unfortunately, there is no comparable evidence of his being a human being. He looks more like a chess piece, with little or no movement throughout the entire poem. No matter what he is gazing upon, there is very little difference in any of his poses. While Dante in the poem is vibrantly alive, in the illustrations here he seems stiff and inhuman. Virgil is equally stiff, but he is also astonishingly feminine looking. In fact, I frequently wondered, before I grew accustomed to Dore's manner of drawing Virgil, who the tall woman beside Dante was. Beatrice is clearly a woman, but she is drawn from scene to scene as stiffly as the other two principal characters, and seems as a result an unappealing figure.
Although Dore produced more impressive work (see either his extraordinary illustrations for DON QUIXOTE or THE RIME OF THE ANCIENT MARINER), this nevertheless remains remarkable stuff. And while I am not entirely happy with the artificiality of many of the tableaux, they have exerted considerable influence. Indeed, anyone who has seen Fritz Lang's NIEBELUNGENLIED will see the influence of Dore. In the end, Dore at less than his best surpasses most illustrators working beyond their abilities.
23 of 25 people found the following review helpful.
..will frighten, amaze & inspire you.
By DJ Rix
You oughta be reading the Divine Comedy - I first viewed these prints in Lawrence Grant White's blank verse translation. But if you're into fantasy, goth art, book illustration or skin art, these plates by Gustave Dore will frighten, amaze & inspire you. It's from Dover, so the price is right.
Bob Rixon
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