Paul Gustave Dore

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Introduction Born in the town of Strasbourg in the Alsace province East of France to parents of education and means, Paul Gustave Dore happened upon a lucrative business that made him the bane of Parisian art critics but the most sought after illustrator in England and The United States. His father was a civil engineer and he was the second of three male siblings. His father hoped to break him of his wild imaginations and his propensity to put them to paper with pencil. While accompanying his father and older brother in Paris, Gustave discovered the allure of Paris and made known his intention to remain and pursue his career as an artist (Hubbard 5-8). His work is generally considered as Romanticism and he has been labeled one of the…show more content…
All the figures are dark and disheveled in appearance. Their clothing is depicted in an unkempt appearance and the scene shows a sense of separation from the upper class society because of the way they are lying on the bench, even though they are presented in a manner of dress inure to the upper class. My first impression was a family waiting for transportation to where I do not know after a night out on the town. Normally figures, during that century, waiting for transportation are sitting upright. Dore does not address in his drawing here the same condition as Figure 1. When I first saw this work, I chose not to look at the title and make some preconceived notion as to what was being depicted. When I noticed the implied ship mast in the background, which setup the next perception as a port, it inherently supported my theory of awaiting transportation. Alas, it was not correct and this may shed some light into Dore’s eventual illustration in Figure 5 of the same scene depicting a more impoverished set of subjects on a bench awaiting the light of day. Included as a reference to the depiction of poor vs. wealthy is Figure 6, one of just a few of the drawings the publisher thought would be prevalent in the book. Figure 1 – http://www.bergercollection.org/artwork_detail.php?i=167# Figure 2 –
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