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RABELAIS: GARGANTUA, 1873. At Gargantuas Parisian meals, four men shovel mustard into his mouth. Engraving, 1873, after Gustave Dor

RABELAIS: GARGANTUA, 1873. At Gargantuas Parisian meals, four men shovel mustard into his mouth. Engraving, 1873, after Gustave Dor


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RABELAIS: GARGANTUA, 1873. At Gargantuas Parisian meals, four men shovel mustard into his mouth. Engraving, 1873, after Gustave Dor

RABELAIS: GARGANTUA, 1873.
At Gargantuas Parisian meals, four men shovel mustard into his mouth. Engraving, 1873, after Gustave Dor

Granger holds millions of images spanning more than 25,000 years of world history, from before the Stone Age to the dawn of the Space Age

Media ID 7513051

1873 Dore Francois Gargantua Gluttony Gustave Literature Rabelais


EDITORS COMMENTS
In this print titled "RABELAIS: GARGANTUA, 1873" we are transported to the extravagant world of François Rabelais' literary masterpiece. The image depicts a scene from Gargantua's Parisian meals, where four men can be seen shoveling mustard into his mouth. This mesmerizing engraving, created in 1873 by Gustave Doré, beautifully captures the essence of gluttony and excess that permeates Rabelais' work. The late and fat figure of Gargantua dominates the frame, symbolizing both his physical size and insatiable appetite for indulgence. As he sits at the table surrounded by opulence, it becomes evident that no amount of food is too much for him. The four men dutifully serve as conduits for his voracious consumption, their actions emphasizing the sheer magnitude of his hunger. Doré's masterful engraving technique brings life to every detail within this artwork. From the intricate folds in Gargantua's clothing to the expressions on each character's face, there is an undeniable sense of movement and energy captured within this piece. This print serves as a testament to Rabelais' ability to use satire and humor to critique societal norms while simultaneously entertaining readers with tales of larger-than-life characters like Gargantua. It invites us to reflect on our own relationship with excess and gluttony while marveling at Doré's skillful interpretation of this iconic

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