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50 resources. Showing results 41 through 50.
Uploaded 
Figure 2. Robert Rauschenberg, Canto VI: Circle Three, the Gluttons, from XXXIV Drawings for Dante’s Inferno, 1958-1960, solvent transfer drawing, pencil, gouache, and colored pencil on paper, 14 ½ x 11 ½ inches. Museum of Modern Art, New York. Image via Artstor.
Figure 1. Robert Rauschenberg, Canto V: Circle Two, the Carnal Lovers, from XXXIV Drawings for Dante’s Inferno, 1958-1960, solvent transfer drawing, pencil, gouache, and colored pencil on paper, 14 ½ x 11 ½ inches. Museum of Modern Art, New York. Image via Artstor.
Kristen Keach, "Intimate Codes of Heaven and Hell: Robert Rauschenberg, Jasper Johns, and Dante Alighieri’s Commedia"
George Corbett, "Beatrice 'Is Not a Woman': Symbolic and Realist Interpretations of Dante’s Beatrice in the 1930s"
Leon Jacobowitz-Efron, "Lectern and Pulpit: The Continuous Appeal of the Commedia’s Public Exposition and Dante’s Religious Reception before the Sixteenth Century"
Reviews
Alberto Gelmi, "Immanuel Romano, Dante, and a Man on the Cross"
Bili Zhong, "Bread Matters and Matter of Breads: Tasting Divine in the Commedia"
O'Connell, Figure 1