Monaramis’s depictions of Dante Alighieri’s Inferno feature an array of muted colors that stem from an earthy palette. These are layered over the black contour of the scene (which appears to have been drawn by hand). The composition focuses on Cerberus as it imposes over a historical monument, seemingly intent to sniff out the two figures hiding in the foreground. The line-work of this piece is sketchy and heavily gestural, which reinforces the dynamism of the Canto depicted. — Monaramis Art, “Dante’s Inferno— La Divina Commedia,” Behance, 2015 (Retrieved March 28, 2024).
The Dantean Prints of Ebba Holm and Klaus Wrage (1920s)
“To mark the occasion of the 700th anniversary of the death of Italian poet and philosopher Dante Alighieri (1265–321) the Kupferstichkabinett is showing selections from two woodcut series from the 1920s.
“The series are by the Danish artist Ebba Holm and the German Klaus Wrage. Both deal in multifaceted ways with Dante’s literary magnum opus The Divine Comedy – and thereby with his virtual journey through hell, up the purgatorial mountain and on to paradise.” — “Hell’s Black and Starlight / Dante’s Divine Comedy in Modern and Contemporary Art”, Staatliche Museen zu Berlin, 1920s.
“Fresh Version of Hell,” Artwork by Megan Vossler (2018)
“[The Divine Comedy] has been translated dozens of times; now the work has received fresh visual interpretation in a grand 10-foot by 5-foot drawing by artist and professor Megan Vossler. Intrigued by her reading of Mary Jo Bang’s contemporary translation, Vossler was inspired to create Geothermia, her own vision of the classic allegory.
Not constrained by the concept of circles, Vossler has created a landscape that can be read from left to right, beginning with Limbo, where, Vossler says, ‘people who weren’t terrible, but didn’t accomplish anything good either, march endlessly through a grassy field of regret.'” — “Fresh Version of Hell,” Macalester, November 14th, 2018.