Demoni - FAUST - MEPHISTOPHELES - BROCKEN Faust e Mephistopheles ascend Brocken verso Sabbat. Incisione n. 24 in serie, Umrisse del Goethe Faust. Gezeichnet von Moritz Retsch, 1836. [Nell'Retsch serie dei contorni Twenty-Six, illustrativi di Goethe la tragedia di Faust incisi da Henry Mosè, nel 1820, è l'incisione 21.] Ci sono state due distinte prime edizioni del Retsch serie di disegni di Goethe, Faust. Il migliore è stato Umrisse del Goethe Faust. Gezeichnet von Moritz Retsch, edizione 1836, stampato in entrambe Stoccarda e Augusta. Vi sono state 29 piastre in

• Collaboratore: Charles Walker Collection / Alamy Foto Stock
• ID dell’immagine: MC87CY
• Dimensioni dei file: 29,3 MB (1,5 MB Download compresso)
• Liberatorie: Modello - no | Proprietà - no
• Dimensioni: 3645 x 2807 px | 30,9 x 23,8 cm | 12,2 x 9,4 inches | 300dpi
• Data acquisizione: 13 aprile 2018
• Fotografo: Charles Walker Collection

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DEMONS - FAUST - MEPHISTOPHELES - THE BROCKEN Faust and Mephistopheles ascend the Brocken towards the Sabbat. Engraving No. 24 in the series, Umrisse Goethe's Faust. Gezeichnet von Moritz Retsch, 1836. [In the Retsch's Series of Twenty-Six Outlines, Illustrative of Goethe's Tragedy of Faust engraved by Henry Moses, in 1820, it is engraving 21.] 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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