Gustave Dore
Edgar Allan Poe is perhaps one of the most well-known writers of the 19th Century, his dark horror inspired generations and his works are still widely published today. It is no surprise that writing of his caliber deserved only the very best illustrations, for only the best could truly depict the Gothic undertones that were such a presence in his work. French artist and illustrator Gustave Dore was the person responsible for bringing Poe’s most famous poem “The Raven” to life, in an over sized edition in 1883.
Dore was born in Strasbourg close to the German border in January 1832. He had his first illustrated story produced at the age of fifteen, his talent for illustration was clear to all. His first experiences with illustration were carvings in cement, but before long he was working as a literary illustrator in Paris, winning commissions to illustrate scenes from books by some of the greatest writers including Honore de Balzac, John Milton and Dante.
In 1853 Dore was asked to illustrate the works of the romanticism poet Lord Byron, this led to a New English Bible that Dore was once again asked to illustrate. 10 years later and Dore was illustrating a French edition of Don Quixote by 16th century poet and novelist Cervantes. Dore illustrated the character Don Quixote and his squire so well that future adaptions of the book, whether it is films, stage or other artists, the figures hardly differed from the originals by Dore.
Dore was now firmly fixed as one of the top illustrators in Europe and in 1876 he had his first major exhibition in London. This in turn led to a deal with journalist Blanchard Jerrold who wanted Dore to help him produce a comprehensive portrait of London. Dore was noted for his paintings but his steel engravings were something to behold. His engravings that he produced for Jerrold are in my opinion some of his best and believe me picking the best out of Dore’s work is by no means easy due to the fact that he had such an eye for detail.
Later in his life he produced illustrations for Paradise lost, the epic poem by British writer John Milton. There is a strange beauty about the engravings; I noticed how there is no black, just different shades of grey. Dore’s work produces a strange eeriness, almost ghostly and the shadow on some of the figures in Paradise Lost really brings the characters to life. For me steel engravings always seem like dark, gothic images, maybe it’s the black and white or the way you can see the lines where the steel has been etched that creates this macabre feeling.
Gustave Dore remains one of my favorite illustrators, his eye for detail matched by no others. Many of his illustrations have been for my favorite authors most particularly Edgar Allan Poe. The grays of the illustrations and the shape of Dore’s figures compliment Poe’s work perfectly. Both have that dark streak that was common in 19th century movements, most notably the Symbolism and Decadence movements that were born around that time.
Harry Clarke
Harry Clarke was born in Dublin, Ireland on 17 March 1889. He was a noted stained glass artist and talented illustrator. He was exposed to art very early in his life, particularly the Art Nouveau movement, due to his father’s work as a craftsman. He studied at the Dublin art school during his teens, focusing his efforts on Stained glass and winning numerous awards for his work.
Clarke travelled to London soon after he had finished his education and found a place with London publisher Harrap as a book illustrator. After a few unfinished projects (including an illustrated edition of The Rape and the Lock by Alexander Pope) he eventually completed his first project: Fairy Tales by Hans Christian Andersen, which included 16 colour plates and more than 24 monotone illustrations. Soon after this work he began and completed monotone prints for Tales of Mystery and Imagination by American writer and poet Edgar Allan Poe.
These works propelled Clarke’s reputation as a book illustrator, his work being compared to the decadent illustrator Aubrey Beardsley. Some of Clarkes most sought after works include multiple promotional booklets for Jameson’s Irish Whiskey produced in 1924 and Elixir of Life (1925) written by geofrey Warren. During his success as an illustrator, his father had died and Clarke and his brother had taken over his studio in 1921. This enabled Clarke to produce over 130 stained glass windows which are central to his career.
The style of stained glass that he was producing was very different from anybody else, the finesse of the lines and the detail were considered very unusual. Styles from his work with glass can be seen in some of his monotone illustrations, most obviously the use of heavy black lines. His use of vibrant colours, especially deep blue’s made for beautiful dominant windows, very bold but equalled by detail and finesse.
The illustrations of Harry Clarke have a heavy influence from the passing Art Nouveau and also of the approaching Art Deco; his stained glass however seemed more in the way of the French symbolism movement. The ferocious pace in which Clarke worked took its toll, not helped by the toxic chemicals used in stained glass making and he died at the beginning of 1931 of tuberculosis while trying to recuperate in Switzerland.
The illustrations of Clarke work very well for horror stories like the ones of Edgar Allan Poe but in a different way of those of say, Gustave Dore. Dore’s work is more real, more detailed almost like a picture, epic and astounding. Clarke seems to prefer bold lines and uses a lot of blacks to dominate the work almost a cartoon style not dissimilar to the illustrations of Alastair. The characters that appear in Clarke’s illustrations have strangeness about them, very square, thin as though they are all corpses struggling to move properly. They show resemblance to the illustrations and characters designed by modern day American director and animator Tim Burton. Overall the large amounts of black, the strong bold lines and eerie corpse looking figures make the illustrations of Harry Clarke some of the most creepy yet mesmerizing works to behold. A true pioneer of illustration and Art Nouveau.
Review 3
Wordsworth's Grave
William Wordsworth was an English Romantic poet who along with Samuel Taylor Coleridge brought about the the relaunch of Romanticism in English Literature. Wordsworth was Britains Poet Laureate from 1843 until his death from pluerisy on April 23rd 1850. Romanticism was heavily influenced by the British countryside and Wordsworth was born and raised in arguably one of the most beautiful and inspiring places in the British Isles, the English Lake District.
Wordsworth, along with his family is buried in nearby St Oswalds church in Grasmere, a popular tourist attraction. During Wordsworths life he planted 8 yew trees in the church yard, all of them standing to this day, and one of them is situated just feet from his final resting place. Around his grave are his family, also buried close by is the grave of Hartley Coleridge, Samuel Taylors eldest son.
The small church is nestled in the centre of Grasmere, surrounded by a modest green cemetery. The sound of the River Rothay drifts up from beside the church. Inside, beautiful beams stretch across the building, the slate floor leading up to a small alter. A glass case near the organ contains Wordsworths prayer book, he was a regular visitor to the church during his life.
The church and its surroundings make for a beautiful setting for Wordsworths eternal rest, Daffodills blooming every spring on his grave in the place he loved the most.
Review 4
Cimetiere du Pere Lachaise
Père Lachaise is the largest Cemetery in the city of Paris, with over 1 million interments stretching over 110 acres. Among the masses buried here are many notable names including Oscar Wilde, Jim Morrison and Honoré de Balzac. Established in the early 19th Century it is reputed to hold the honour of the worlds most visited cemetery. Located in the centre of Paris it is easily accessible by metro, among other means of transport.
Nothing can prepare the visitor for the sudden realization of the size. Maps are available from the main entrance, which includes a key to the most popular graves. Unlike most British cemeteries where a simple headstone is enough to commemorate the deceased, Père Lachaise contains rather more elaborate mini chapels in which mourners are able to step into in which they can pray, or have a private moment in which to think about their entombed loved one.
Many of these small chapels are inscribed with the family name, some long since forgotten. Gothic type emblazons the front, carved filigree snakes around the windows, thick carpets of spider webs flutter in the breeze. Old books lay sodden and ripped next to burnt out candles. There is a certain silence that seems present in this cemetery, a stillness that you can feel on the back of your neck. The small walkways are bordered on either side by these chapels, these rotten gothic chapels of silence and solitude many accompanied by weeping figures of women in robes or eerie carved skulls, glaring out at the passer by.
Pere Lachaise is one of the rare places where you can really feel its vast age and importance. It’s a place that is felt rather than seen. It is a place of rest and of solace for the dead and the living. The heavy silence that fills the whole cemetery is the perfect place to read, or to paint or to write, among some of the most famous people ever to live and breathe.
Absinthe is a distilled, highly alcoholic and infamous drink, made from Grand Wormwood, Green Anise and Sweet Fennel. It has a naturally green hue, making it look rather like poison which could be a contributing factor in its infamous and checkered past. It originated in Switzerland in the late 1700’s but rose to popularity in the 19th century, especially in France.
Its popularity was mainly with the painters and writers of Paris; however it became popular all over Europe owing to its bohemian culture. Notable figures that were known to enjoy Absinthe were Ernest Hemingway, Charles Baudelaire, Paul Verlaine, Arthur Rimbaud, Vincent van Gogh and Oscar Wilde. Absinthe was a particular favourite of the Decadents, they approved of all things sinful so a dangerous drink that looks like poison went down very well with them.
However there are good reasons that Absinthe was looked on negatively many poets lead very self-destructive lives usually accredited to the amount of Absinthe they were drinking at the time. One such poet was Paul Verlaine. Verlaine is considered a poet of Decadence and a poète maudit (French-Cursed Poet) due to his work being ignored and his destructive self-abuse of drink and drugs. Verlaine was a great poet but his love of Absinthe among other narcotics eventually lead to his death in 1896.
Absinthe was frequently used in Decadent art as it inspired the artists and was highly thought of but terribly dangerous. It plagued the life of English Decadent Ernest Dowson. Dowson was as Decadent as it was possible to be; he fell in love with an 11 year old girl and had frequent encounters with prostitutes before being found drunk in a London bar by Oscar Wilde’s biographer, whom took Dowson to his cottage before he died of consumption aged 32.
A great example of Absinthe’s role in the movement is in “Green Muse” by Albert Maignan. The piece depicts a poet being caressed by a wispy woman cloaked in green. Her green robes flared up behind her like wings, referring to Absinthes nickname “The Green Fairy”. The poet is clearly enjoying the experience holding his head in bliss as though golden thoughts and inspiration flow through it. The woman, however sweet she is making him feel, has a defiant menacing look on her face, a look of evil and contempt. This is a clear reference to the evil that befalls poets who partake in Absinthe too often, consumption, followed by death.
