Demoni - FAUST - Demonio Faust e il suo servo, Wagner guarda le buffonate del barboncino nero che li avvicina in una traccia a spirale, con correnti di fuoco il rilascio dalle sue zampe. A pochi minuti prima, Faust è stato il desiderio di entrare in contatto con il mondo spirituale. Wagner aveva consigliato 'Da non chiamare verso il basso che ospitano degli spiriti, che riempiono l'atmosfera come un ruscello, e preparare un mille pericoli per manÍ' incisione n. 2 in Umrisse del Goethe Faust. Gezeichnet von Moritz Retsch, 1836. Ci sono state due distinte prime edizioni del Retsch serie di disegni di Goethe, Faust. La pinna

• Collaboratore: Charles Walker Collection / Alamy Foto Stock
• ID dell’immagine: MC87C2
• Dimensioni dei file: 31,2 MB (897,8 KB Download compresso)
• Liberatorie: Modello - no | Proprietà - no
• Dimensioni: 3765 x 2896 px | 31,9 x 24,5 cm | 12,6 x 9,7 inches | 300dpi
• Data acquisizione: 13 aprile 2018
• Fotografo: Charles Walker Collection

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DEMONS - FAUST - DEMON Faust and his servant, Wagner watch the antics of the black poodle, which approaches them in a spiral track, with currents of fire issuing from its paws. A few minutes earlier, Faust has been desiring to make contact with the spiritual world. Wagner had advised him 'Do not call down that host of spirits, who fill the atmosphere like a stream, and prepare a thousand dangers for manÍ' Engraving No. 2 in Umrisse Goethe's Faust. Gezeichnet von Moritz Retsch, 1836. There were two distinct early editions of the Retsch series of drawings for Goethe's play, Faust. The finest was Umrisse Goethe's Faust. Gezeichnet von Moritz Retsch, 1836 edition, printed in both Stuttgart and Augsburg. There were 29 plates in this edition, for the first part of the play, and a further 11 for the second part. Another edition was that engraved by Henry Moses, in 1820: Retsch's Series of Twenty-Six Outlines, Illustrative of Goethe's Tragedy of Faust, which had fewer plates for the first part, and none at all for the second part. The differences between the plates are mainly iconographical - for example, the Moses print dispenses with the image of God in plate 1, leaving only a pregnant glowing space. Again, Moses is inclined to make the vision of the woman (his plate 6, but plate 8 of the 1836 edition) more sensual, leaving her naked to the waist, whilst the German version has her fully clothed. At best these are merely graphic edits of the original drawings, and both sets are of very high quality. I have selected the plate which seemed more likely to respond to modern reproduction techniques (in each of these editions, the finer lines of the engraving tends to be lost in the printing). I give the actual edition used as the first title, in the listing above.

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