Dante Today

Citings & Sightings of Dante's Works in Contemporary Culture

Salvador Dali’s Stairway to Heaven – Fort Wayne Museum of Art

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“The Salvador Dalí‘s Stairway to Heaven exhibit is comprised of illustrations originally made for two very different literary works: a 1934 edition of Les Chants de Maldoror, a prose-poem by Comte de Lautréamont, and a 1960 edition of Dante Alighieri’s the Divine Comedy. When Dalí created the first portfolio in the 1930s, he embraced Surrealism with its wildly imaginative dreamscapes. The lascivious lifestyle he and his wife led at this time is also evident in his work of the ’30s. By the time he illustrated Dante’s the Divine Comedy in the 1960s, Dalí had renounced Surrealism and become a born again Catholic. His personal life had shifted dramatically to embrace what he termed a divine or ‘mystical ecstasy’ which is evident in this second, celebrated portfolio.”    —Fort Wayne Museum of Art, June 13, 2020

“6 Downtown Dallas Museums Unveil Plans to Reopen After COVID-19 Shutdown”

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“All exhibitions that were on display when the museum closed have been extended, and the special exhibition For a Dreamer of Houses, which was to have opened on March 15, will be available for view with the purchase of an additional ticket. It will now remain on view until July 4, 2021. Also opening on August 14 will be Dalí’s Divine Comedy, which showcases selections from Salvador Dalí’s most ambitious illustrated series: his colored wood engravings of the Divine Comedy.”    –Alex Bentley, CultureMap, August 10, 2020

“9 Times Marilyn Manson Was the Greatest Rockstar in Any Circle of Hell”

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“Marilyn Manson, the man and his eponymous band, brought darkness back into the spotlight in the early ‘90s. Achieving popularity without a scalp scraped by butterfly clips or an official Pog line, Manson became the new face of fear. Fear of violence, sex, vulgarity, drugs, and most crucially Satanism. He was hailed by fans of alternative music, and reviled by the mainstream, as the self-styled Antichrist Superstar. Just like mythical depictions of the Anti-Christ, Manson has a silver (forked) tongue and an intelligence that few can comprehend. He is a cause for parents to fear their teenager’s headphones, coiled around their babies like the snake in Eden.

[. . .]

In Manson, no creative force has brought such a vivid and lyrical depiction of Hell since Dante’s Inferno, the first part of the fourteenth-century epic poem Divine Comedy. The band’s back catalogue gives as nuanced and sprawling a Hell as Dante, taking listeners through all nine circles. Whereas Dante’s guide was Roman Poet Virgil, ours is the icon formally known as Brian Warner.”    –Daniel Wylie, What Culture, August 10, 2020

“The Most Harrowing Paintings of Hell Inspired by Dante’s Inferno“

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“Dante Alighieri’s depiction of the afterlife has inspired generations of readers since the Divine Comedy was first published in 1472. In the 14,233 verses of this poem, Dante envisions a trip to the afterlife, guided first by the Roman poet Virgil, who leads him through Hell and Purgatory, and then by his beloved Beatrice, who leads him through Paradise. His detail-rich descriptions of Hell, envisioned as nine concentric circles containing souls of those “who have rejected spiritual values by yielding to bestial appetites or violence, or by perverting their human intellect to fraud or malice against their fellowmen,” have inspired artists for the last five centuries. Here are some of the most poignant visualizations of Dante’s Inferno.

[. . .]

Stradanus, Canto VIII (1587-1588)

Flemish painter Jan van der Straet, known by his Italian name ‘Stradanus,’ completed a series of illustrations of the Divine Comedy between 1587 and 1588, currently preserved at the Laurentian Library in Florence. This illustration refers to Canto VIII, where the wrathful and slothful are punished. Stradanus combines elements of Italian Mannerism, such as painstaking attention to detail, with distinctive Flemish traits like the physiognomy of the demonic figure steering Dante’s boat, who shows a deeply harrowing expression.”    –V. M. Traverso, Aleteia, July 17, 2020

“The Divine Comedy of The House That Jack Built“

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“After being banned from the Cannes Film Festival and finishing his Depression Trilogy, Lars von Trier returned from a five-year hiatus with The House That Jack Built. The film follows a sadistic, failed architect named Jack (Matt Dillon) who recalls his murders to the ancient Roman poet Virgil (Bruno Ganz), as the pair make their way through Hell. To Virgil’s disgust, Jack sees these incidents as misunderstood works of art.

When the film premiered at Cannes, it prompted a one-hundred-person walkout and a ten-minute standing ovation. While the festival is known for its dramatic receptions, The House That Jack Built is, indeed, a polarizing film. It’s is either the nail in the coffin for von Trier’s career or the darkest comedy of 2018. Depends on who you ask.
As Ryan Hollinger puts it in the video essay below: The House That Jack Built is what you get when you give a serial killer two and a half hours to gush about how great they are. On paper that sounds like a recipe for disaster. But on the screen, the iffy conceit materializes as a mocking character study of the kind of ego-trip that thinks it’s so charming and clever that it can get away anything.
Ultimately, The House that Jack Built is a film that turns a monster into a punchline. And if you let go of seriousness and pretension, the film reveals itself as an absurd, self-effacing, and divinely funny comedy.”    –Meg Shields, Film School Rejects, July 25, 2020
Check out our original post on The House that Jack Built (2018) here.

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Coggeshall, Elizabeth, and Arielle Saiber, eds. Dante Today: Citings and Sightings of Dante’s Works in Contemporary Culture. Website. Access date.

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