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190 wood-engraved plates, 120 full-page: charging the windmill, traversing Spanish plains, valleys, mountains, ghostly visions of dragons, knights, flaming lake. Marvelous detail, minutiae, accurate costumes, architecture, enchantment, pathos, humor. Captions.
Gustave Doré and the Modern Biblical Imagination explores the role of biblical imagery in modernity through the lens of Gustave Doré (1832-83), whose work is among the most reproduced and adapted scriptural imagery in the history of Judeo-Christianity. First published in France in late 1865, Doré's Bible illustrations received widespread critical acclaim among both religious and lay audiences, and the next several decades saw unprecedented dissemination of the images on an international scale. In 1868, the Doré Gallery opened in London, featuring monumental religious paintings that drew 2.5 million visitors over the course of a quarter-century; when the gallery's holdings travelled to the United States in 1892, exhibitions at venues like the Art Institute of Chicago drew record crowds. The United States saw the most creative appropriations of Doré's images among a plethora of media, from prayer cards and magic lantern slides to massive stained-glass windows and the spectacular epic films of Cecile B. DeMille. This book repositions biblical imagery at the center of modernity, an era that has often been defined through a process of secularization, and argues that Doré's biblical imagery negotiated the challenges of visualizing the Bible for modern audiences in both sacred and secular contexts. A set of texts whose veracity and authority were under unprecedented scrutiny in this period, the Bible was at the center of a range of historical, theological, and cultural debates. Gustave Doré is at the nexus of these narratives, as his work established the most pervasive visual language for biblical imagery in the past two and a half centuries, and constitutes the means by which the Bible has persistently been translated visually.
Excerpt from Life and Reminiscences of Gustave Doré Compiled From Material Supplied by Doré's Relations and Friends, and From Personal Recollection; With Many Original Unpublished Sketches, and Selections From Doré's Best Published Illustrations Boswell says he often ran over half London for data or notes, and lam sure that in my enthusiasm about Doré, I ran over all Paris. My labour of love became one of lively and absorbing interest, however, for I had the good fortune to know the various personages who appear in this work, and of whom one may safely say that they are one and all but a shade less interesting than Doré himself; in short, a fitting frame for such a picture. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Among the masters of the nineteenth-century comic strip, Gustave Doré has been much neglected. For his illustrations to literary classics, he earned an unsurpassed reputation and corresponding scholarly attention. Doré himself repudiated his early work, and similarly critics and biographers have given short shrift to his beginnings as a caricaturist. These caricatures are herein rescued entirely for the first time in English by the renowned comics scholar David Kunzle. Doré's caricature is known to a few specialists, but virtually no one has pointed out that his mastery of the comic strip particularly marks him as an entirely original figure in the post-Töpffer era of revolutionary, mid-century France. Doré, remarkably, created these comic strips when he was between fifteen and twenty-two years old, for Charles Philipon's Journal pour Rire (The Laughter Journal), virtually dominating its seven-year (1848-55) history. He also did three fairly long, separately published albums, which show him at his very best. They are consistently funny, often ludicrous, and illustrate a graphic inventiveness unmatched until the twentieth century. In these graphic stories, Doré parodies an ancient fable, the discomforts of life in the country, the perils of artistic ambition, the absurdities of mountaineering and travel, as well as the antics of schoolboys. This book provides a context for Doré's caricatures, focusing on his comic strips in the Journal pour Rire, the character of the journal, and the three comic strip albums he created while he worked there. Kunzle's analysis reveals Doré's debts to his predecessors, Töpffer, Cham, and Nadar. None of Doré's Journal strips has ever been republished. Some of the albums were republished, reduced and incomplete, in German and French. This edition includes facsimiles of the twelve most significant comic strips and the first translation into English of the captions.
"The Death of the Lion" is a novella written through the American author Henry James. The tale revolves around the literary international of London and explores themes of reputation, creative integrity, and the results of public scrutiny. The narrative follows the existence of Neil Paraday, a hit and revered author who will become the problem of public fascination. As his private lifestyles is uncovered to the prying eyes of the public, Paraday grapples with the challenges that come with fame, which include the expectations of his readers and the invasive nature of the media. The novella delves into the complexities of artistic creation and the toll that societal expectancies can tackle an individual. Henry James, acknowledged for his exploration of mental intensity and complicated man or woman research, brings his literary abilties to undergo in "The Death of the Lion." The novella serves as a nuanced reflection on the sacrifices and struggles faced by means of artists in the face of public adulation and scrutiny, making it a compelling work within the realm of overdue 19th-century literature.
Global Milton and Visual Art showcases the aesthetic appropriation and reinterpretation of the works and legend of the early modern English poet and politician John Milton in diverse eras, regions, and media: book illustrations, cinema, digital reworkings, monuments, painting, sculpture, shieldry, and stained glass. It innovates an inclusive approach to Milton’s literary art, especially his masterpiece Paradise Lost, in global contemporary aesthetics via intertextual and interdisciplinary relations. The fifteen purposefully-brief chapters, 103 illustrations, and 64 supplemental web-images reflect the great richness of the topics and the diverse experiences and expertise of the contributors. Part I: Panoramas, provides overviews and key contexts; Part II: Cameos offers different perspectives of the varied afterlives of the most widely-circulating illustrations of Paradise Lost, those by Gustave Doré; Part III: Textual Close-ups focuses on a rich variety of book illustrations, from centuries-old elite engravings to a twenty-first century graphic novel; and Part IV: A Prospect beyond Books, explores visual media outside of books that manifest powerful connections, direct and indirect, with Milton’s works and legend.
Report for 1871/1873-1903/1905 contains a list of additions to the miscellaneous and law departments.
While Jesus has attracted the sporadic interest of film-makers since the epics of the Sixties, it is often forgotten that between the advent of motion pictures in the 1890s and the close of the "silent" era at the end of the 1920s, some of the longest, most expensive and most watched films on both sides of the Atlantic were focused on the Life and Passion of the Christ. Drawing upon rarely seen archival footage and the work of both the era’s most important directors (e.g. Alice Guy, Ferdinand Zecca, Sidney Olcott, D.W. Griffith, Carl Dreyer, and C.B. DeMille) and others who have been all but forgotten, this collection of essays offers a representative survey of the Silents of Jesus, illustrating the ways in which the earliest films and those which followed were influenced by a multiplicity of factors. Written by leading scholars in biblical and early film studies this collection explores the ways in which the Silents of Jesus were shaped not only by the performing and visual arts of the nineteenth century and the technological challenges and opportunities of a new medium and industry, but also by the artistic, theological and ideological predilections of studios and directors, and the expectations of audiences as the genre evolved. Taken together, the essays collected here offer a seminal treatment of the genesis and early evolution of the cinematic Jesus.