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.