(French pronunciation: January 6, 1832 - January 23, 1883) was a French artist, engraver, illustrator and sculptor. Dore worked primarily with wood engraving and steel engraving. Dore was born in Strasbourg and his first illustrated story was published at the age of fifteen. His skill had manifested itself even earlier, however. At age five he had been a prodigy troublemaker, playing pranks that were mature beyond his years. Seven years later, he began carving in cement. Subsequently, as a young man, he began work as a literary illustrator in Paris, winning commissions to depict scenes from books by Rabelais, Balzac, Milton and Dante. In 1853, Dore was asked to illustrate the works of Lord Byron. This commission was followed by additional work for British publishers, including a new illustrated English Bible. A decade later, he illustrated a French edition of Cervantes's Don Quixote, and his depictions of the knight and his squire, Sancho Panza, have become so famous that they have influenced subsequent readers, artists, and stage and film directors' ideas of the physical "look" of the two characters. Dore also illustrated an oversized edition of Edgar Allan Poe's "The Raven", an endeavor that earned him 30,000 francs from publisher Harper & Brothers in 1883. Dore's English Bible (1866) was a great success, and in 1867 Dore had a major exhibition of his work in London. This exhibition led to the foundation of the Dore Gallery in Covelant Bond Street. In 1869, Blanchard Jerrold, the son of Douglas William Jerrold, suggested that they work together to produce a comprehensive portrait of London. Jerrold had obtained the idea from The Microcosm of London produced by Rudolph Ackermann, William Pyne, and Thomas Rowlandson in 1808. Dore signed a five-year contract with the publishers Grant & Co that involved his staying in London for three months a year, and he received the vast sum of £10,000 a year for the project. Dore was mainly celebrated for his paintings in his day. His paintings remain world renowned, but his woodcuts and engravings, like those he did for Jerrold, are where he really excelled as an artist with an individual vision. The completed book, London: A Pilgrimage, with 180 engravings, was published in 1872. It enjoyed commercial and socioeconomical success, but the work was disliked by many contemporary critics. Some of these critics were concerned with the fact that Dore appeared to focus on the poverty that existed in parts of London. Dore was accused by the Art Journal of "inventing rather than copying." The Westminster Review claimed that "Dore gives us sketches in which the commonest, the vulgarest external features are set down." The book was a financial success, however, and Dore received commissions from other British publishers.  Related Paintings of Gustave Dore :. | Gustave Dore | The Enigma | Loch Lomond | Andromeda | Loch Lomond |
Related Artists:
Elias Vonck
Dutch , Amsterdam 1605-1652
Edward Ashton Goodes
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George Morland
English genre, animal, and landscape painter, 1763-1804 was an English painter of animals and rustic scenes. Morland was born in London on 26 June 1763. His mother was a Frenchwoman, who possessed a small independent property of her own. His grandfather, George H. Morland, was a subject painter. Henry Robert Morland (c. 1719 ?C 1797), father of George, was also an artist and engraver, and picture restorer, at one time a rich man, but later in reduced circumstances. His pictures of Jaundry-maids, reproduced in mezzotint and representing ladies of some importance, were very popular in their time. At a very early age Morland produced sketches of remarkable promise, exhibiting some at the Royal Academy in 1773, when he was but ten years old, and continuing to exhibit at the Free Society of Artists in 1775 and 1776, and at the Society of Artists in 1777, and then sending again to the Royal Academy in 1778, 1779 and 1780. His very earliest work, however, was produced even before that tender age, as his father kept a drawing which the boy had executed when he was but four years old, representing a coach and horses and two footmen. He was a student at the Royal Academy in early youth, but only for a very short time. From the age of fourteen he was apprenticed to his father for seven years, and by means of his talent appears to have kept the family together. He had opportunities at this time of seeing some of the greatest artists of the day, and works by old masters, but even then a strange repugnance for educated society showed itself, and no persuasion