Gustave Doré

• 1. Introduction

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  Gustave Doré created over 10,000 illustrations across his lifetime, and at the peak of his career he kept some 40 block-cutters employed just to translate his drawings onto wooden printing blocks. Born in Strasbourg on the 6th of January 1832, he was working as a professional caricaturist by the age of 15. By the time he died, his images had shaped how readers around the world pictured Don Quixote, Dante's Inferno, the London slums, and the creatures of the deep. What drove a teenager from Alsace to become the most widely reproduced illustrator of the 19th century? And why did the art world of his own time struggle to give him the recognition he clearly craved?

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• 2. The Boy Caricaturist

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  At 15, Doré walked into the offices of the French satirical paper Le Journal pour Rire and began his professional career. The illustrated style of J. J. Grandville had already left a mark on how he saw the world, and wood-engraving was his primary method from the start. In the late 1840s and early 1850s he produced a series of text comics that blended image and story in ways that anticipated later graphic traditions. Les Travaux d'Hercule appeared in 1847; Trois artistes incompris et mécontents and Les Dés-agréments d'un voyage d'agrément both appeared in 1851; L'Histoire de la Sainte Russie followed in 1854. These early works were not preludes to his career; they were his career, drawing commissions from publishers who wanted scenes from Cervantes, Rabelais, Balzac, Milton, and Dante.

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• 3. The Scale of Production

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  The number 10,000 sits at the center of understanding Doré's output: more than ten thousand illustrations across editions of classic and contemporary literature. To move his work into print, he employed an unusual division of labor. Doré designed every composition himself, but the physical act of cutting his drawings into the wooden printing blocks was carried out by a team of up to 40 specialist block-cutters, who would often also sign the finished image. The most significant of those engravings were then copied by an electrotype process using cylinder presses, a technique that allowed very large print runs to circulate in many countries at once. His 1866 Bible illustrations came out in two folio volumes containing 241 plates, published simultaneously by Mame in Tours and Cassell in England. The 1863 Don Quixote ran to 370 illustrations across two folio volumes.

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• 4. London Through a Foreign Eye

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  In 1869, the journalist Blanchard Jerrold approached Doré with a proposal: a comprehensive portrait of London, modeled on Rudolph Ackermann's The Microcosm of London, which had been published in three volumes between 1808 and 1810. Doré signed a five-year contract with the publishers Grant & Co. Under its terms he would spend three months a year in London and receive £10,000 annually. The completed book, London: A Pilgrimage, appeared in 1872 with 180 wood engravings. British critics were uncomfortable with what they saw. The Art Journal accused Doré of inventing rather than copying. The Westminster Review complained that he had recorded only the commonest, vulgarest external features. The charge was that a Frenchman had come to London and drawn its poverty rather than its grandeur. Yet Vincent van Gogh found the book compelling enough that in 1890, the year of his own death, he painted a version of the Prisoners' Round image from those pages.

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• 5. Fame Without Critical Approval

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  France made Doré a Knight of the Legion of Honour in 1861. In 1867 a major exhibition of his work in London led directly to the founding of the Doré Gallery on Bond Street. He was celebrated publicly and adored by writers and poets who felt, in the words recorded from the period, that he brought their wildest dreams and fantasies to life. Théophile Gautier wrote that nobody better than this artist could give a mysterious and deep vitality to chimeras, dreams, nightmares, intangible shapes bathed in light and shade, weirdly caricatured silhouettes, and all the monsters of fantasy. Yet the professional critics of his era remained cooler. The same tension ran through the London: A Pilgrimage reception and through his painting exhibitions. Doré was celebrated for his paintings in his own time, but the wood-engravings were where later assessors recognized an artist with a genuinely individual vision.

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• 6. Final Years and Lasting Reach

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  Doré never married. After his father died in 1849, he continued living with his mother in Paris, producing illustrations until the very end of his life. He died of a heart attack on the 23rd of January 1883 following a short illness, at the age of 51. At the moment of his death he was working on illustrations for an edition of Shakespeare's plays. His 1875 illustrations for Coleridge's Rime of the Ancient Mariner, published by the Doré Gallery itself in a folio with 39 engraved plates and 3 vignettes, were among the last major projects he saw through to completion. H. P. Lovecraft drew directly on those Mariner images during his formative years. The medical doctor Jean-Baptiste Fuzier, who specialized in yellow fever and tropical diseases, had already bequeathed a collection of Doré's watercolor paintings to the museum of Grenoble in 1880, three years before the artist's death. The Musée de Grenoble records that Doré developed his skill as a watercolorist during a trip to Scotland in 1873.

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