Above is a spy cartoon of Gustav Doré
meanwhile, here is the first proof of the judge in colour-
There are shadows to add.
Meanwhile, I was rebuked yesterday for writing a piece about woodprints and not drawing a picture of Gustav Doré, (32-83) the French master.
Doré is best known for his wood engravings, but he is also well-represented in his hometown of Strasbourg by huge biblical oil paintings. He was already in print by the age of 15for the periodical “Le Journal pour rire”.
Rather disturbingly, he was involved in the illustrations for a fairly abhorrent anti-semitic “Juif Errant”.
His printed work stretches from a 1854 edition of russian images to an 1884 edition of Edgar Allen Poe’s the Raven confirm him as one of the truly great European artists. I am particularly fond of the Paradise lost in 1866, Idylls of the King in 1875 and the Dante which he was working on from 1857 to 1867. In 1876, he did a book on London which has informed most of the films set in Victorian slums and was almost literally reproduced by John Box and Terence Marsh for Caron Reed’s version of “Oliver!”
Terence Marsh, who won an academy award for the Oliver designs, indeed, was also nominated for the designs of “Scrooge” a few years’ later so he had his fill of Victoriana. John Box was the art director on the Asquith production of The Importance of Being Earnest with Joan Greenwood and Edith Evans, but he was also production designer on Lawrence of Arabia and A passage to India (in 1984)
Here is my sketch of Monsieur Doré:
One thought on “The Judge in colour”
we all love the animation. Did you know that the old headmaster has disappeared? It all seems a bit suspicious.