Pub Date : 2021-10-14DOI: 10.1093/oso/9780190075811.003.0003
Sarah C. Schaefer
Chapter 2 examines the Doré Bible illustrations through the lens of the illustrated periodical press. Having begun his career as a newspaper illustrator, Doré approached the Bible with the same aim toward comprehensiveness and compositional variety that one finds in the illustrated press of the time. At the same time, Doré’s images are rooted in the history of biblical representation and are thus dialectically situated in the discourses of contemporaneity and tradition. This chapter also takes into account the role that wood engraving played in the realm of illustration and in Doré’s practice specifically. Used primarily for book and periodical illustration, wood engraving became the most ubiquitous printed form in nineteenth-century Europe. Doré’s aim to elevate the medium to a higher status resulted in a set of illustrations that simultaneously derive from the visual language of journalistic imagery and depart from it in significant ways.
{"title":"The Good News","authors":"Sarah C. Schaefer","doi":"10.1093/oso/9780190075811.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780190075811.003.0003","url":null,"abstract":"Chapter 2 examines the Doré Bible illustrations through the lens of the illustrated periodical press. Having begun his career as a newspaper illustrator, Doré approached the Bible with the same aim toward comprehensiveness and compositional variety that one finds in the illustrated press of the time. At the same time, Doré’s images are rooted in the history of biblical representation and are thus dialectically situated in the discourses of contemporaneity and tradition. This chapter also takes into account the role that wood engraving played in the realm of illustration and in Doré’s practice specifically. Used primarily for book and periodical illustration, wood engraving became the most ubiquitous printed form in nineteenth-century Europe. Doré’s aim to elevate the medium to a higher status resulted in a set of illustrations that simultaneously derive from the visual language of journalistic imagery and depart from it in significant ways.","PeriodicalId":134908,"journal":{"name":"Gustave Doré and the Modern Biblical Imagination","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128014295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-14DOI: 10.1093/oso/9780190075811.003.0005
Sarah C. Schaefer
Chapter 4 moves from France to England, where the growth of fervent evangelical Protestantism and a massive publishing industry resulted in an exponential increase in the reproduction and adaptation of Doré’s imagery. At the heart of this chapter are the monumental religious works produced for the Doré Gallery, established in London in 1868. By relying on consistent compositional structure and highly legible narratives, Doré’s biblical paintings cohere to evangelical principles and functioned counterdiscursively to the visual cultures of spectacle that shaped much of Victorian experience. While French audiences derided Doré’s efforts at painting, British viewers eagerly consumed these works, which were offered in the heart of the commercial art district and provided wholesome entertainment that counterbalanced the more suspect spectacles of nearby neighborhoods. This was a context in which commercialism and religious experience overlapped and which became, as one commentator put it, “where the godly take their children.”
{"title":"The Message Is Seen","authors":"Sarah C. Schaefer","doi":"10.1093/oso/9780190075811.003.0005","DOIUrl":"https://doi.org/10.1093/oso/9780190075811.003.0005","url":null,"abstract":"Chapter 4 moves from France to England, where the growth of fervent evangelical Protestantism and a massive publishing industry resulted in an exponential increase in the reproduction and adaptation of Doré’s imagery. At the heart of this chapter are the monumental religious works produced for the Doré Gallery, established in London in 1868. By relying on consistent compositional structure and highly legible narratives, Doré’s biblical paintings cohere to evangelical principles and functioned counterdiscursively to the visual cultures of spectacle that shaped much of Victorian experience. While French audiences derided Doré’s efforts at painting, British viewers eagerly consumed these works, which were offered in the heart of the commercial art district and provided wholesome entertainment that counterbalanced the more suspect spectacles of nearby neighborhoods. This was a context in which commercialism and religious experience overlapped and which became, as one commentator put it, “where the godly take their children.”","PeriodicalId":134908,"journal":{"name":"Gustave Doré and the Modern Biblical Imagination","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128963687","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-14DOI: 10.1093/oso/9780190075811.003.0002
Sarah C. Schaefer
Chapter 1 introduces the context in which Doré’s biblical imagery emerged by focusing on the status of the Bible in the visual culture of nineteenth-century France, with particular emphasis on book illustration. Relying on photographic documentation of Doré’s original drawings, this chapter begins the process of articulating Doré’s visual language and its relationship to preceding attempts at comprehensive Bible illustration projects. The distinction between “biblical” and “religious” imagery is significant in setting the stage for the Doré Bible, as it was initially produced for French Catholic audiences, a contingent for whom direct engagement with the Bible was historically discouraged or even forbidden. Yet, as this chapter demonstrates, biblical illustration in the first half of the nineteenth century reveals the continued centrality of the Bible to artistic and public life in the wake of religious and intellectual upheavals.
{"title":"The Light of the Word","authors":"Sarah C. Schaefer","doi":"10.1093/oso/9780190075811.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780190075811.003.0002","url":null,"abstract":"Chapter 1 introduces the context in which Doré’s biblical imagery emerged by focusing on the status of the Bible in the visual culture of nineteenth-century France, with particular emphasis on book illustration. Relying on photographic documentation of Doré’s original drawings, this chapter begins the process of articulating Doré’s visual language and its relationship to preceding attempts at comprehensive Bible illustration projects. The distinction between “biblical” and “religious” imagery is significant in setting the stage for the Doré Bible, as it was initially produced for French Catholic audiences, a contingent for whom direct engagement with the Bible was historically discouraged or even forbidden. Yet, as this chapter demonstrates, biblical illustration in the first half of the nineteenth century reveals the continued centrality of the Bible to artistic and public life in the wake of religious and intellectual upheavals.","PeriodicalId":134908,"journal":{"name":"Gustave Doré and the Modern Biblical Imagination","volume":"913 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123274568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-14DOI: 10.1093/oso/9780190075811.003.0006
Sarah C. Schaefer
Chapter 5 moves to the United States at the turn of the twentieth century, where the entrepreneurial spirit and penchant for spectacle led to some of the most significant and idiosyncratic recuperations of Doré’s work and the most compelling evidence for the critical place biblical imagery has maintained in modern life. A combination of practical factors (the lack of international copyright laws, for instance, and the highly successful tour of works from the Doré Gallery) led to widespread appropriation of Doré’s imagery in a plethora of contexts, including traditional media such as stained glass and book illustration, as well as more recent developments such as the magic lantern. In the United States, the proliferation of Christian denominations and capitalist culture alike are uniquely bound up with the circulation of Doré’s images.
{"title":"Peddling for Profit","authors":"Sarah C. Schaefer","doi":"10.1093/oso/9780190075811.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780190075811.003.0006","url":null,"abstract":"Chapter 5 moves to the United States at the turn of the twentieth century, where the entrepreneurial spirit and penchant for spectacle led to some of the most significant and idiosyncratic recuperations of Doré’s work and the most compelling evidence for the critical place biblical imagery has maintained in modern life. A combination of practical factors (the lack of international copyright laws, for instance, and the highly successful tour of works from the Doré Gallery) led to widespread appropriation of Doré’s imagery in a plethora of contexts, including traditional media such as stained glass and book illustration, as well as more recent developments such as the magic lantern. In the United States, the proliferation of Christian denominations and capitalist culture alike are uniquely bound up with the circulation of Doré’s images.","PeriodicalId":134908,"journal":{"name":"Gustave Doré and the Modern Biblical Imagination","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124844385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-14DOI: 10.1093/oso/9780190075811.003.0007
Sarah C. Schaefer
The book concludes with an epilogue, “The Invisible Hand,” that explores the afterlife of Doré’s imagery as it has been subject to creative erasure. The extent to which these images have been appropriated and adapted is foregrounded in the very process of their original creation, as Doré’s designs were transformed into reproducible matrices through the work of the engravers. The examples of cutting and overpainting of Doré’s work with which the book concludes should be understood not as iconoclastic but as entirely consistent with and the inevitable outcome of both the history of the Bible writ large and Doré’s intervention therein.
{"title":"Epilogue: The Invisible Hand","authors":"Sarah C. Schaefer","doi":"10.1093/oso/9780190075811.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780190075811.003.0007","url":null,"abstract":"The book concludes with an epilogue, “The Invisible Hand,” that explores the afterlife of Doré’s imagery as it has been subject to creative erasure. The extent to which these images have been appropriated and adapted is foregrounded in the very process of their original creation, as Doré’s designs were transformed into reproducible matrices through the work of the engravers. The examples of cutting and overpainting of Doré’s work with which the book concludes should be understood not as iconoclastic but as entirely consistent with and the inevitable outcome of both the history of the Bible writ large and Doré’s intervention therein.","PeriodicalId":134908,"journal":{"name":"Gustave Doré and the Modern Biblical Imagination","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127153800","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-14DOI: 10.1093/oso/9780190075811.003.0004
Sarah C. Schaefer
Chapter 3 examines the impact of biblical archaeology on the production and reception of the Doré Bible, arguing that the recuperations of historical fragments are consistent with broader societal anxieties. Questions surrounding the Bible’s historical credibility (propelled by Enlightenment rationalism) prompted new, ostensibly scientific investigations of biblical sources and sites. Archaeological excavations in the Middle East and North Africa revealed fragments of ancient pasts that engendered new approaches to the representation of biblical subjects. These fragments, the often problematic manner in which they were appropriated into Doré’s illustrations, and the popular reception of the images reveal a distinct anxiety about the narratives of biblical civilizations and what they presage about the present and future. The illustrations speak to the circumstances of French interests and the status of the nation in an era wrought by repeated revolutions that seemed as potentially catastrophic as the events of the Bible.
{"title":"Brought to Ruin","authors":"Sarah C. Schaefer","doi":"10.1093/oso/9780190075811.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780190075811.003.0004","url":null,"abstract":"Chapter 3 examines the impact of biblical archaeology on the production and reception of the Doré Bible, arguing that the recuperations of historical fragments are consistent with broader societal anxieties. Questions surrounding the Bible’s historical credibility (propelled by Enlightenment rationalism) prompted new, ostensibly scientific investigations of biblical sources and sites. Archaeological excavations in the Middle East and North Africa revealed fragments of ancient pasts that engendered new approaches to the representation of biblical subjects. These fragments, the often problematic manner in which they were appropriated into Doré’s illustrations, and the popular reception of the images reveal a distinct anxiety about the narratives of biblical civilizations and what they presage about the present and future. The illustrations speak to the circumstances of French interests and the status of the nation in an era wrought by repeated revolutions that seemed as potentially catastrophic as the events of the Bible.","PeriodicalId":134908,"journal":{"name":"Gustave Doré and the Modern Biblical Imagination","volume":"122 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114235138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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