![]() The immediate sell-out of that entire first printing had secured Dore’s success for evermore and the printer/publisher of course, grabbed the opportunity to publish many more editions which helped to diffuse it widely throughout Europe and America.Ĭritics have historically been quite critical of Doré designs. But it was Dore, in 1861, who brought Dante to a much wider and diverse public with his self-published sumptuous volume of illustrations for Dante’s Inferno (L Enfer du Dante). ![]() Although there was little during the 17th century right through to the mid 18th century interest was soon re-awakened by the neo-Classical and Romantic art world from Joshua Reynolds, through to John Flaxman, William Blake, Henry Fuseli and finally Gustave Dore, all setting off a steady stream of artists who were inspired by the Inferno above all. The Divine Comedy of Dante Alighieri has inspired artists and illustrators since before Botticelli and visual interpretations have never ceased to this day. ![]() Former Portico Librarian Emma Marigliano explores the influence of those incomparable illustrations since they first appeared in 1861. ![]() 700 years from Divine Comedy author Dante’s death, some argue that no one brought more horror, romance, and theatricality to his Inferno than Gustave Doré. ![]()
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