All language subtitles for [English (auto-generated)] Gustave Doré_ The Man Who Shaped Our Vision of Hell [DownSub.com]

af Afrikaans
ak Akan
sq Albanian
am Amharic
ar Arabic
hy Armenian
az Azerbaijani
eu Basque
be Belarusian
bem Bemba
bn Bengali
bh Bihari
bs Bosnian
br Breton
bg Bulgarian
km Cambodian
ca Catalan
ceb Cebuano
chr Cherokee
ny Chichewa
zh-CN Chinese (Simplified)
zh-TW Chinese (Traditional)
co Corsican
hr Croatian
cs Czech
da Danish
nl Dutch
en English
eo Esperanto
et Estonian
ee Ewe
fo Faroese
tl Filipino
fi Finnish
fr French
fy Frisian
gaa Ga
gl Galician
ka Georgian
de German
el Greek
gn Guarani
gu Gujarati
ht Haitian Creole
ha Hausa
haw Hawaiian
iw Hebrew
hi Hindi
hmn Hmong
hu Hungarian
is Icelandic
ig Igbo
id Indonesian
ia Interlingua
ga Irish
it Italian
ja Japanese
jw Javanese
kn Kannada
kk Kazakh
rw Kinyarwanda
rn Kirundi
kg Kongo
ko Korean
kri Krio (Sierra Leone)
ku Kurdish
ckb Kurdish (Soranî)
ky Kyrgyz
lo Laothian
la Latin
lv Latvian
ln Lingala
lt Lithuanian
loz Lozi
lg Luganda
ach Luo
lb Luxembourgish
mk Macedonian
mg Malagasy
ms Malay
ml Malayalam
mt Maltese
mi Maori
mr Marathi
mfe Mauritian Creole
mo Moldavian
mn Mongolian
my Myanmar (Burmese)
sr-ME Montenegrin
ne Nepali
pcm Nigerian Pidgin
nso Northern Sotho
no Norwegian
nn Norwegian (Nynorsk)
oc Occitan
or Oriya
om Oromo
ps Pashto
fa Persian Download
pl Polish
pt-BR Portuguese (Brazil)
pt Portuguese (Portugal)
pa Punjabi
qu Quechua
ro Romanian
rm Romansh
nyn Runyakitara
ru Russian
sm Samoan
gd Scots Gaelic
sr Serbian
sh Serbo-Croatian
st Sesotho
tn Setswana
crs Seychellois Creole
sn Shona
sd Sindhi
si Sinhalese
sk Slovak
sl Slovenian
so Somali
es Spanish
es-419 Spanish (Latin American)
su Sundanese
sw Swahili
sv Swedish
tg Tajik
ta Tamil
tt Tatar
te Telugu
th Thai
ti Tigrinya
to Tonga
lua Tshiluba
tum Tumbuka
tr Turkish
tk Turkmen
tw Twi
ug Uighur
uk Ukrainian
ur Urdu
uz Uzbek
vi Vietnamese
cy Welsh
wo Wolof
xh Xhosa
yi Yiddish
yo Yoruba
zu Zulu
Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:01,719 --> 00:00:03,800 when we think of hell what image comes 2 00:00:03,800 --> 00:00:06,520 to mind probably one crafted by a single 3 00:00:06,520 --> 00:00:10,679 man Gustav dor dor a 19th century Genius 4 00:00:10,679 --> 00:00:13,080 of illustration not only created some of 5 00:00:13,080 --> 00:00:15,400 the most iconic images of his time but 6 00:00:15,400 --> 00:00:17,720 also forever defined how we envision the 7 00:00:17,720 --> 00:00:19,960 underworld through his illustrations in 8 00:00:19,960 --> 00:00:22,320 The Divine Comedy he brought to life the 9 00:00:22,320 --> 00:00:24,439 terrifying image of hell that we still 10 00:00:24,439 --> 00:00:27,240 hold today his work plunged us into a 11 00:00:27,240 --> 00:00:29,679 dark world where Eternal suffering takes 12 00:00:29,679 --> 00:00:32,079 shape but how did one artist manage to 13 00:00:32,079 --> 00:00:34,040 transform our vision of Hell through his 14 00:00:34,040 --> 00:00:36,760 paintings and most importantly where did 15 00:00:36,760 --> 00:00:39,280 dor find the inspiration to create these 16 00:00:39,280 --> 00:00:42,039 disturbing images of The 17 00:00:42,039 --> 00:00:45,360 Inferno let's 18 00:00:46,560 --> 00:00:49,810 [Music] 19 00:00:50,800 --> 00:00:53,800 begin to understand how dor became the 20 00:00:53,800 --> 00:00:56,160 man who shaped our vision of hell we 21 00:00:56,160 --> 00:00:58,920 first need to explore his fascinating 22 00:00:58,920 --> 00:01:03,000 story born in Strasburg France In 1832 23 00:01:03,000 --> 00:01:05,560 dor showed an extraordinary Talent from 24 00:01:05,560 --> 00:01:08,640 a very young age in fact by the age of 25 00:01:08,640 --> 00:01:11,400 five he was already creating drawings so 26 00:01:11,400 --> 00:01:13,360 detailed that his family had no 27 00:01:13,360 --> 00:01:15,759 hesitation in encouraging him to pursue 28 00:01:15,759 --> 00:01:18,240 an artistic career but it was at the age 29 00:01:18,240 --> 00:01:21,000 of 15 when his genius truly began to 30 00:01:21,000 --> 00:01:23,280 shine as he was hired as an illustrator 31 00:01:23,280 --> 00:01:25,680 for a Parisian Publishing House at such 32 00:01:25,680 --> 00:01:27,920 a young age he was already making a name 33 00:01:27,920 --> 00:01:30,360 for himself in the French art scene his 34 00:01:30,360 --> 00:01:32,360 career took off quickly and over the 35 00:01:32,360 --> 00:01:34,320 years he worked on a wide range of 36 00:01:34,320 --> 00:01:36,600 projects from political satire in 37 00:01:36,600 --> 00:01:39,000 newspapers to illustrations for great 38 00:01:39,000 --> 00:01:41,119 literary Classics works like John 39 00:01:41,119 --> 00:01:44,399 Milton's Paradise Lost svante Don kote 40 00:01:44,399 --> 00:01:46,840 and the Bible were transformed from text 41 00:01:46,840 --> 00:01:49,159 into works of art thanks to his 42 00:01:49,159 --> 00:01:51,799 illustrations however it was his work on 43 00:01:51,799 --> 00:01:54,439 Dante Alary's The Divine Comedy that 44 00:01:54,439 --> 00:01:56,920 propelled him to Legendary status when 45 00:01:56,920 --> 00:02:00,039 he began illustrating the work in 1861 46 00:02:00,039 --> 00:02:02,520 he was already an established artist but 47 00:02:02,520 --> 00:02:04,079 it was in this project where he 48 00:02:04,079 --> 00:02:06,600 Unleashed his most dark and grandiose 49 00:02:06,600 --> 00:02:10,639 imagination through 136 Engravings dor 50 00:02:10,639 --> 00:02:12,720 transported us to Dante's circles of 51 00:02:12,720 --> 00:02:15,200 hell creating images that captured 52 00:02:15,200 --> 00:02:18,000 suffering Despair and horror with such 53 00:02:18,000 --> 00:02:20,840 vivid Precision that to this day they 54 00:02:20,840 --> 00:02:23,120 Remain the most recognized depictions of 55 00:02:23,120 --> 00:02:25,239 this infernal realm throughout his 56 00:02:25,239 --> 00:02:27,599 career dor produced over 10,000 57 00:02:27,599 --> 00:02:29,920 Engravings an astonishing figure that 58 00:02:29,920 --> 00:02:32,400 reflects his boundless Creative Energy 59 00:02:32,400 --> 00:02:34,160 although he worked on a variety of 60 00:02:34,160 --> 00:02:36,200 subjects from Biblical scenes to 61 00:02:36,200 --> 00:02:38,840 historical epics his ability to capture 62 00:02:38,840 --> 00:02:41,080 the sublime and the terrifying made him 63 00:02:41,080 --> 00:02:44,280 an Undisputed master of illustration dor 64 00:02:44,280 --> 00:02:46,840 didn't just illustrate texts his images 65 00:02:46,840 --> 00:02:48,879 defined how entire Generations would 66 00:02:48,879 --> 00:02:50,680 imagine the world he portrayed 67 00:02:50,680 --> 00:02:53,000 especially hell which will be our Focus 68 00:02:53,000 --> 00:02:56,000 today before Gustav dor transformed our 69 00:02:56,000 --> 00:02:58,360 vision of Hell other artists had already 70 00:02:58,360 --> 00:03:00,280 attempted to capture the terrif Ying 71 00:03:00,280 --> 00:03:02,200 vision of the underworld described by 72 00:03:02,200 --> 00:03:05,200 Dante in The Divine Comedy one of the 73 00:03:05,200 --> 00:03:08,440 most notable was Sandro belli whose work 74 00:03:08,440 --> 00:03:10,080 during the Renaissance left a 75 00:03:10,080 --> 00:03:12,400 significant mark on the representation 76 00:03:12,400 --> 00:03:15,799 of Hell belli primarily known for his 77 00:03:15,799 --> 00:03:18,440 mythological and religious works also 78 00:03:18,440 --> 00:03:20,879 tackled the illustration of the Divine 79 00:03:20,879 --> 00:03:24,159 Comedy in the 15th century belli created 80 00:03:24,159 --> 00:03:26,599 a series of drawings for Dante's poem 81 00:03:26,599 --> 00:03:28,920 which included detailed representations 82 00:03:28,920 --> 00:03:31,480 of the nine c Les of Hell his approach 83 00:03:31,480 --> 00:03:33,159 was influenced by the Renaissance 84 00:03:33,159 --> 00:03:35,080 context where the emphasis was on 85 00:03:35,080 --> 00:03:37,280 Clarity and proportion while his 86 00:03:37,280 --> 00:03:39,159 illustrations were detailed and faithful 87 00:03:39,159 --> 00:03:41,560 to Dante's narrative they maintained a 88 00:03:41,560 --> 00:03:43,400 style that reflected Renaissance 89 00:03:43,400 --> 00:03:45,360 Aesthetics with a more restrained 90 00:03:45,360 --> 00:03:47,400 perspective and a less oppressive 91 00:03:47,400 --> 00:03:49,280 atmosphere compared to what would come 92 00:03:49,280 --> 00:03:52,200 later as we move into the 19th century 93 00:03:52,200 --> 00:03:54,519 dor revolutionized the way we imagine 94 00:03:54,519 --> 00:03:56,959 hell his interpretation of the Divine 95 00:03:56,959 --> 00:03:59,480 Comedy not only updated and dramatized 96 00:03:59,480 --> 00:04:02,000 down his infernal Visions but also left 97 00:04:02,000 --> 00:04:05,200 an indelible mark on visual culture dor 98 00:04:05,200 --> 00:04:07,280 approached hell with a Monumental and 99 00:04:07,280 --> 00:04:09,799 almost apocalyptic Focus his 100 00:04:09,799 --> 00:04:12,040 illustrations filled with terrifying 101 00:04:12,040 --> 00:04:14,000 details and an overwhelming sense of 102 00:04:14,000 --> 00:04:16,839 scale transformed the perception of hell 103 00:04:16,839 --> 00:04:19,320 we have today one of the most memorable 104 00:04:19,320 --> 00:04:21,600 moments in this interpretation is when 105 00:04:21,600 --> 00:04:23,479 Dante and Virgil reached the ninth 106 00:04:23,479 --> 00:04:25,800 circle of hell home to the traitors 107 00:04:25,800 --> 00:04:29,000 Frozen in an eternal Lake of ice dor 108 00:04:29,000 --> 00:04:31,639 portrays this scene in Kanto 32 where 109 00:04:31,639 --> 00:04:34,039 souls are submerged in the ice condemned 110 00:04:34,039 --> 00:04:37,039 to immobility and suffering here the 111 00:04:37,039 --> 00:04:39,479 Frozen desolate landscape contrasts with 112 00:04:39,479 --> 00:04:41,440 the traditional image of hell as a place 113 00:04:41,440 --> 00:04:44,199 of fire showcasing dory's ability to 114 00:04:44,199 --> 00:04:46,680 capture the coldness and isolation of 115 00:04:46,680 --> 00:04:50,120 the ultimate sin betrayal the climax of 116 00:04:50,120 --> 00:04:53,280 this descent is the arrival at Kanto 34 117 00:04:53,280 --> 00:04:55,800 where Lucifer the ultimate traitor 118 00:04:55,800 --> 00:04:58,520 appears trapped in ice up to his waist 119 00:04:58,520 --> 00:05:00,560 dory's depiction of Lucifer is 120 00:05:00,560 --> 00:05:03,400 Monumental a Titanic figure with three 121 00:05:03,400 --> 00:05:06,360 faces each eternally devouring the most 122 00:05:06,360 --> 00:05:09,720 infamous traitors Judas Brutus and 123 00:05:09,720 --> 00:05:12,280 casassus this illustration with its 124 00:05:12,280 --> 00:05:14,800 sense of scale and palpable horror has 125 00:05:14,800 --> 00:05:16,680 defined our modern perception of the 126 00:05:16,680 --> 00:05:19,120 devil and the final punishment if we 127 00:05:19,120 --> 00:05:21,240 stop to think where does the image of 128 00:05:21,240 --> 00:05:23,680 hell that we have today come from that 129 00:05:23,680 --> 00:05:26,199 dark terrifying and ominous place that 130 00:05:26,199 --> 00:05:28,160 immediately comes to mind when we hear 131 00:05:28,160 --> 00:05:30,319 the word the most immedi Med answer 132 00:05:30,319 --> 00:05:32,840 might be from ancient texts like the 133 00:05:32,840 --> 00:05:35,479 Bible or in this case Dante's Divine 134 00:05:35,479 --> 00:05:38,120 Comedy these texts offer detailed 135 00:05:38,120 --> 00:05:40,520 descriptions of Eternal punishments and 136 00:05:40,520 --> 00:05:42,720 the Grim landscape that awaits condemned 137 00:05:42,720 --> 00:05:45,080 Souls but there is a vast difference 138 00:05:45,080 --> 00:05:46,960 between reading those descriptions and 139 00:05:46,960 --> 00:05:48,840 being able to visualize something as 140 00:05:48,840 --> 00:05:51,080 complex as hell in its entirety 141 00:05:51,080 --> 00:05:52,960 imagining it with the same precision as 142 00:05:52,960 --> 00:05:55,919 we feel it today as a universal image is 143 00:05:55,919 --> 00:05:58,319 almost impossible and this is where 144 00:05:58,319 --> 00:06:01,160 Gustav dor comes into play this man 145 00:06:01,160 --> 00:06:03,520 didn't just interpret Dante's verses and 146 00:06:03,520 --> 00:06:05,639 meticulously depict each detail of 147 00:06:05,639 --> 00:06:08,080 Hell's circles in his Engravings he 148 00:06:08,080 --> 00:06:10,240 created images so powerful and 149 00:06:10,240 --> 00:06:12,280 convincing that they have shaped the 150 00:06:12,280 --> 00:06:14,280 collective imagination of hell for 151 00:06:14,280 --> 00:06:16,880 centuries what he did was give a visible 152 00:06:16,880 --> 00:06:19,120 face to the invisible because while 153 00:06:19,120 --> 00:06:21,160 literature can describe suffering and 154 00:06:21,160 --> 00:06:23,280 Terror we need something tangible to 155 00:06:23,280 --> 00:06:25,479 connect to those ideas and that's what 156 00:06:25,479 --> 00:06:28,280 dor provided with his work a visually 157 00:06:28,280 --> 00:06:30,800 terrifying yet captivating vision of 158 00:06:30,800 --> 00:06:34,000 Hell each of his Engravings oozes pain 159 00:06:34,000 --> 00:06:36,680 suffering darkness and the condemnation 160 00:06:36,680 --> 00:06:38,680 of lost souls in a way that no other 161 00:06:38,680 --> 00:06:41,080 artist had achieved before but you might 162 00:06:41,080 --> 00:06:43,440 be thinking I haven't read The Divine 163 00:06:43,440 --> 00:06:45,840 Comedy or the Bible so how can I have 164 00:06:45,840 --> 00:06:47,960 such a clear image of hell that dor 165 00:06:47,960 --> 00:06:50,560 portrayed this is where his influence 166 00:06:50,560 --> 00:06:53,120 becomes even more remarkable but before 167 00:06:53,120 --> 00:06:55,520 we continue I want to let you know that 168 00:06:55,520 --> 00:06:57,160 many of the works you've seen in this 169 00:06:57,160 --> 00:06:59,199 video along with others I've personally 170 00:06:59,199 --> 00:07:01,800 selected Ed are now available in our 171 00:07:01,800 --> 00:07:04,440 catalog for you to decorate with you can 172 00:07:04,440 --> 00:07:06,240 even get them as phone cases and 173 00:07:06,240 --> 00:07:09,319 shipping is completely free worldwide so 174 00:07:09,319 --> 00:07:11,120 if You' like to support the channel you 175 00:07:11,120 --> 00:07:13,120 can do so by purchasing a painting on 176 00:07:13,120 --> 00:07:15,080 the website you'll find a link in the 177 00:07:15,080 --> 00:07:17,319 description thanks to your support it's 178 00:07:17,319 --> 00:07:19,319 possible to keep creating videos like 179 00:07:19,319 --> 00:07:22,160 this one what Gustav D created did not 180 00:07:22,160 --> 00:07:24,479 remain confined to the pages of his work 181 00:07:24,479 --> 00:07:26,759 it has been reinterpreted Time and Again 182 00:07:26,759 --> 00:07:29,879 by modern artists filmmakers musicians 183 00:07:29,879 --> 00:07:32,280 and even video game designers that is 184 00:07:32,280 --> 00:07:34,240 the real reason his vision of hell has 185 00:07:34,240 --> 00:07:36,960 reached us because it has been adapted 186 00:07:36,960 --> 00:07:39,400 reproduced and disseminated in popular 187 00:07:39,400 --> 00:07:42,319 culture across Generations from films to 188 00:07:42,319 --> 00:07:44,560 video games through contemporary Visual 189 00:07:44,560 --> 00:07:47,319 Arts his work has permeated our culture 190 00:07:47,319 --> 00:07:49,919 so deeply that even if we've never 191 00:07:49,919 --> 00:07:51,960 opened a Divine Comedy or seen his 192 00:07:51,960 --> 00:07:54,240 original Engravings we still Envision 193 00:07:54,240 --> 00:07:56,280 hell as a place of Despair and 194 00:07:56,280 --> 00:07:58,759 Punishment dark and full of Horrors 195 00:07:58,759 --> 00:08:01,400 exactly as he represented it in other 196 00:08:01,400 --> 00:08:04,440 words dor didn't just illustrate hell he 197 00:08:04,440 --> 00:08:07,080 defined it for future generations and 198 00:08:07,080 --> 00:08:09,400 today every time we think of that place 199 00:08:09,400 --> 00:08:11,720 of eternal torment we do so Through The 200 00:08:11,720 --> 00:08:14,599 Eyes of Gustav 201 00:08:14,599 --> 00:08:17,360 dor I hope you enjoyed today's video and 202 00:08:17,360 --> 00:08:19,960 this amazing artist to wrap up I'd love 203 00:08:19,960 --> 00:08:21,520 to hear your thoughts on this artist's 204 00:08:21,520 --> 00:08:23,800 work and how you imagine hell I'm sure 205 00:08:23,800 --> 00:08:25,840 many of you have a much more terrifying 206 00:08:25,840 --> 00:08:27,800 interpretation than what we've seen in 207 00:08:27,800 --> 00:08:29,840 this video I'd love for you to share it 208 00:08:29,840 --> 00:08:32,000 in the comments don't forget to like And 209 00:08:32,000 --> 00:08:34,640 subscribe to C2 analyses like this every 210 00:08:34,640 --> 00:08:38,308 week see you in the next video bye 211 00:08:38,308 --> 00:08:42,888 [Music] 15196

Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.