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Gustave Dor� (1832–83) was perhaps the most successful illustrator of the nineteenth century. His Dor� 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 Dor�'s personal favorites.
The present volume reproduces with excellent clarity all 135 plates that Dor� 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, Dor�'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, Tha�s 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: #26962 in Books
- Published on: 1976-06-01
- Released on: 1976-06-01
- Original language: English
- Number of items: 1
- Dimensions: 12.00" h x 9.00" w x .50" l, 1.06 pounds
- Binding: Paperback
- 144 pages
From the Back Cover
Gustave Dor� (1832–83) was perhaps the most successful illustrator of the nineteenth century. His Dor� 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 Dor�'s personal favorites.
The present volume reproduces with excellent clarity all 135 plates that Dor� 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, Dor�'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, Tha�s 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
French illustrator Gustave Dor� (1833-83) began his prolific career at the age of 15, and his dramatic engravings have exercised an incalculable influence over latter-day artists. The remarkable scope of his work ranges from Milton, Dante, and the Bible to Rabelais, Shakespeare, and street scenes of 19th-century London.
Most helpful customer reviews
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.
0 of 0 people found the following review helpful.
Three Stars
By Sally Attaalla
Some pages were faded not sure why but it's ok all in all
6 of 6 people found the following review helpful.
Absolutely Wonderful (Really 4 and a half stars)
By Nicole
I have looked at a variety of Dante artists. Some well known and some are not. Suloni Robertson, John Flaxman, Willam Blake, Sandro Botticelli, Sandow Birk, Herb Roe. Do a google search to look at the works of some of these like Sandow Birk. There are some that are more obscure which in a way documents the Comedy, more specifically the Inferno. I'm not going to say who I don't like but Dore is the best. I am rather specific about artists. Dore makes the grade. He is good, really good and when you look at this book, you feel like you are in the terrible depths of hell. I like purgatorio too. I feel the religious prayer songs in my head as I see Beatrice's entrance. There is so much symbolism in these pictures, especially in Paradiso. Though I do disagree with the depiction of Muhammad in hell, the rest is fantastic. I mean that he looks more like he's British then Middle Eastern. I imagine him with blonde hair in the plate. The tortured look on Dante's face in the plate with Betrand de Born, (The cover pic) is extraordinary. I felt how he felt. That is why Dore is so good. I had also hoped for more detail with Ugolino because his story is fantastically horrifying.
The book is a must for any Dante fan. I look at it a lot, even if I have seen the pictures hundreds of times. I really don't think that you can get bored with this. There is always something new to look at. Some detail you looked over. Buy this book because the scans online don't give the justice that this book has. Buy it, look it over, get inspired by it. Maybe we will see your work on Amazon in the near future.
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