Index on Moritz Retzsch
Note: Given the complexity and richness of entries, this index follows the classification below rather than alphabetical order. For grouped items, image positions are indicated by line (l.) and column (col.) from left to right.
Family, Life, and Career
Personality and Characteristics
Choice Faust I Scenes Outlined, Copies and Influence
Additional Faust Outlines and Other Faust Drawings
Printed Editions of R’s Faust I Outlines (original and copied)
Other Works
Aesthetics, Inspiration, and Technique
R’s Distinctive Outline Treatment
Effect and Function of R’s Faust I Outlines
Reception
Influence
1 Family, Life, and Career
abodes and haunts
25–28, 50, 212
central Dresden
27, 28
Dresden Neustadt
27
legend of solitude/withdrawal
25, 27–28, 34, 35 (Fig. 1.5)
Radebeul (Oberlößnitz)
27–28, 212
refinement of Radebeul community
30, 30 (Fig. 1.2)
Scharfenberg castle
32–33
career moves
Dresden Academy membership
26, 50–51, 61
Dresden Academy professorship
26, 27, 51, 61
individual work in Academy exhibitions
33, 34, 39–40, 43, 54
professionally tied to outline
51
teaching and students
26, 27
later relation to Grünewald and Zimmermann
227, 233–236
family relations
August, elder brother and painter
as artist
25, 27, 40
death (1835)
36
jolly occasions
28, 37, 270–71, 272 (Fig. 9.2)
friendship album
30, 30n38
MS diary
60;
6. Other Works → joint pictorial diary by R brothers
father
25, 26
Miersch (Mürisch or Mirisch), Johanna Christiana, aka Christel, R’s wife
28–30, 29 (Fig. 1.1), 31 (Fig. 1.3), 37, 101, 358
mother
26
R as breadwinner
26, 27, 34, 43, 50
drawing antiquities (Augusteum)
26, 40, 41 (Fig. 1.7)
portraits and miniatures
26, 34, 39, 40, 44;
Index → Thielmann
life markers
blights of war
26, 43
education and training
25–26, 39–40;
career moves
illness and ailments
27, 65, 101, 213
lack of financial means
26
obituaries
25
grave
27
portrayed
1807–08 in joint pictorial diary
28–30, 29 (Fig. 1.1), 31 (Fig. 1.3)
1811 self-portrait in “Carus album”
34, 35 (Fig. 1.5)
by Friedrich John?
220, 220n11
social hindrances
26, 40–42
urbane life and friendships
Castle Scharfenberg circle
32–34, 32 (Fig. 1.4), 65
Seydelmann circle and “Carus album”
34, 35 (Fig. 1.5)
sociability
34, 50;
Index → David d’Angers; Friedrich; Hall; Jameson; La Motte Fouqué, F.; Lieber, F.; Miltitz, C. B.; Renovanz; Vogelstein; Watzdorf
2 Personality and Characteristics
aptitudes
craftsmanship
1, 4, 33–36, 50, 61, 65–66, 69, 71, 74–75, 96, 101–2, 333–34
imaginative power
28, 33–34, 36, 37, 39, 40, 42, 43, 50, 71, 88–89, 302
ingenious artist/visual translator
35–36, 37, 42, 43, 61, 62, 122, 140;
Index → geistreich
poetic gift/mind
2, 35–36, 37–38, 43, 87, 122, 184, 189, 190, 213, 307, 309, 310, 321
poet in graphic art/outline
37–38, 42, 83–84, 87–88, 124, 129, 169, 206, 233, 356
power of conception
33–34
disposition
affinities with Goethe’s Faust
25, 28–31, 29 (Fig. 1.1)
as bipolar Janus
37
as Pygmalionic husband
28–30, 29 (Fig. 1.1), 31 (Fig. 1.3)
fancy
2, 25, 34, 36–39, 50, 52, 55, 69, 88, 170, 187, 247, 357;
7. Aesthetics, Inspiration, and Technique → allegory, treatment of → Fancy
melancholy
36–37, 50
3 Choice Faust I Scenes Outlined, Copies and Influence
(per plate number, each outline plate followed by drawings, copies, cut-outs, copies with alterations, reworked and repurposed versions, parodies, remediated versions, influence, omissions/exclusions)
Pl. 1 Prologue in Heaven
9, 53 (Fig. 2.1b), 84, 87, 118, 128–29, 141 (Fig. 5.1), 274, 275 (Fig. 9.3 bottom)
preparatory drawing
69
freehand copied
n.d. Delacroix
177, 178 (Fig. 6.3)
copied with alterations
1820 Moses re-engraved as Introduction for Boosey
138, 142 (Fig. 5.2)
1824 Muret lithograph Méphistophélès obtient de Dieu la permission de tenter Faust
181, 182–83, 182 (Fig. 6.5), 360
1825 anon. for Berthoud
160 (Fig. 5.15), 161, 162, 361
1828 Trueb re-engraving for Audot
189–90, 190 (Fig. 6.10), 362
1834 Eytel’s woodcut for Kurtz
117–18, 117 (Fig. 3.17b)
c.1835 Kennerley recycled by Gibbings
364
copied without alterations
1824 Stone re-engraving
142
detached as frontispiece to both plays in 1884? Cotta ed.
107, 368
censored (omitted)
1822–23 KPM porcelain plates painted
334
1940 anon. in Labatut’s ed. for Masson
205, 369
influencing
c.1811 Goethe’s drawing Prologue in Heaven
274, 275 (Fig. 9.3 top)
bypassed or suppressed
1821 in Boosey’s text
149, 154, 157
1821 in Dibdin’s Bibliographical, Antiquarian and Picturesque Tour
133
1829 Klingemann Braunschweig performance
273
Pl. 2 Poodle appearing in open country
9, 63, 151, 247, 273, 280
carefully coloured copy in R set
89, 90 (Fig. 2.22)
copied and repurposed
1821 vignette in circular ornament
151, 152 (Fig. 5.10a), 153 (Fig. 5.10b)
remediated
1822–23 on KPM porcelain plate painted
334–38, 336 (Fig. 12.2, l. 1 col. 1)
influencing
1808–10 C. D. Friedrich’s painting Der Mönch am Meer
Pl. 3 Faust in his study with poodle transmuting
10, 81, 89, 132, 132 (Fig. 4.3), 170, 270, 274, 276 (Fig. 9.4 bottom), 375
preparatory drawings
68, 72
carefully coloured copy in R set
89, 90 (Fig. 2.23 coloured)
copied with alterations
1824 Muret lithograph
162
1825 anon. lithograph for Berthoud
161 (Fig. 5.16), 162
1843 Tilt and Bogue “kinetic” alternate visual/textual album
169, 175
reworked and repurposed
1843 Tilt and Bogue combined gilt title on green binding (canine monsters)
170, 171 (Fig. 5.19), 176, 366, 375
1865 Frey vignette for Frijlink
165 (Fig. 5.18, l. 1 col. 1)
remediated
1822–23 on KPM porcelain plate painted
334–38, 336 (Fig. 12.2, l. 1 col. 2)
influencing
c.1811 Goethe drawing and wash Conjuring the Poodle
274, 276 (Fig. 9.4 top)
1820 Brühl with stage transformation
279–80
1820 binding Ch. Murton
130–32, 130 (Fig. 4.1)
1838 Coburg performance
287
1849–50 Phiz in Dickens (Dr Strong’s study)
319
1968 & 1978 jokey theatre performances
301
Pl. 4 Faust and Mephistopheles in Faust’s study
10, 81, 84–85, 85 (Fig. 2.21)
preparatory drawings
67, 68 (Figs. 2.4a–b)
copied with alterations
1820 Moses re-engraved as Faust Makes Over his Soul to Mephistopheles
84–85
1824 Muret lithograph
84–85
1828 Pinéas engraving Faust signe le pacte avec Méphistophélés
84–85, 181 (Fig. 6.4), 185, 211, 371
1834 Eytel’s woodcut for Kurtz
116 (Fig. 3.17a), 117, 373
1843 recycled in Tilt and Bogue
169
1900 vignette in Les Sciences maudites
208, 378
copied without alterations
1824 Stone re-engraving
142
reworked and repurposed
1818 anon. engraving for Jaeger
201
1840 vignette in Baudry’s synoptic frontispiece
201–3, 202 (Fig. 6.17, l. 1 col. 1)
1850 Frère cut by Rouget for Bry
204, 245, 245 (Fig. 7.25)
1865 Frey vignette for Frijlink
165 (Fig. 5.18, l. 2 col. 1)
1940 anon. in Labatut’s ed. for Masson
206
parodied
1834 Crowquill, Faust Signs Over his Soul to the Devil
259, 262, 264, 265 (Fig. 8.6)
1841 Lachgern parodying Crowquill
264, 265 (Fig. 8.7)
remediated
1821 on KPM porcelain plate painted
334–38, 335 (Fig. 12.1, l. 3 col. 1)
1822–23 on KPM porcelain plate painted
334–38, 336 (Fig. 12.2, l. 1 col. 3)
Pl. 5 Auerbach’s cellar
11, 89–90, 170, 287, 330
carefully coloured copy in R set
89–92, 296, 296 (Fig. 9.17 coloured)
cut-out, focussed and pasted
1821 in Dibdin’s Bibliographical, Antiquarian and Picturesque Tour
134 (Fig. 4.4a)
reworked and repurposed
1850 Frère cut by Rouget for Bry
203, 204 (Fig. 6.18)
parodied
1834 Crowquill
259, 262
remediated
1843 Tilt and Bogue Mephistopheles in combined gilt title on green binding
170, 171 (Fig. 5.19), 176, 366, 375
1822–23 on KPM porcelain plate painted
334–38, 336 (Fig. 12.2, l. 2 col. 1)
ante 1878 H. Bey sepia outlines on cellar walls, vault and menus in Auerbach’s Keller Leipzig
212–13, 377
influencing
1838 Coburg performance?
287
1859 “Villa monde brillant” show
288
Pl. 6 Faust in the witch’s kitchen
11, 42, 63, 81, 82, 82 (Fig. 2.18), 85, 127, 142, 144 (Fig. 5.4 bottom), 170, 223 (Fig. 7.7 bottom), 240, 273, 280, 375
preparatory drawing
67
freehand copied occasionally with alterations
1853 Albert Edward, Prince of Wales, watercolours
358, 376–77
n.d. Ross, Mephistopheles with owl in landscape
221, 223 (Fig. 7.7 top)
cut-out, focussed and pasted
1821 in Dibdin’s Bibliographical, Antiquarian and Picturesque Tour
135 (Fig. 4.4c)
copied with alterations
1820 Moses re-engraving Faust and Mephistopheles in the Witch’s Cave
139, 142–43, 144 (Fig. 5.4 top), 149, 154, 181
1824 Moses in “kinetic” Faustus
156
1824 Muret lithograph
181, 182
1825 anon. lithograph for Berthoud
182
1826 Kennerley re-engraving for Bulcock
162
1839 Brain re-engraving in Birch trans.
168, 366
1877 finely printed by Wilson and Son
169
1883 Champfleury with erroneous title
206, 377
copied without alterations
1824 Stone re-engraving
142
reworked and repurposed
1818 anon. engraving for Jaeger
112
1828 in Audot pictorial cover (demon with drapery)
187–88, 187 (Fig. 6.9), 362
1850 Frère cut by Rouget for Bry
203, 204 (Fig. 6.18), 243, 243 (Fig. 7.23, enlarged)
parodied
1834 Crowquill
259, 262
remediated
1821 on KPM porcelain plate painted
334–38, 335 (Fig. 12.1, l. 3 col. 2)
1822–23 on KPM porcelain plate painted
334–38, 336 (Fig. 12.2, l. 2 col. 2)
1843 Tilt and Bogue combined gilt title on binding
170, 171 (Fig. 5.19), 176, 366, 375
influencing
1828 Lefèvre’s matching set at Porte-Saint-Martin theatre
281
1829 Weimar performance
280
1838 Coburg performance?
287
1885? W. H. Margetson painting
299
1894 J. B. Partridge Punch sketch
299, 300 (Fig. 9.19)
1904 G. Jourdain photogravure
245, 246 (Fig. 7.26)
Pl. 7 Faust drinks the potion in the witch’s kitchen
12, 42, 63, 81, 82, 83 (Fig. 2.19), 164 (Fig. 5.17 bottom), 170, 222 (Fig. 7.6 bottom), 273, 280, 319, 332, 375
preparatory drawings
69, 70 (Fig. 2.5)
in double strip
70–71, 71 (Fig. 2.6)
freehand copied with jokey alterations
n.d. Kippenberg coll. with long French caption
219, 282, 372
n.d. Ross, Faust and Mephistopheles smoking
221, 222 (Fig. 7.6 top)
copied with alterations
1820 Moses re-engraving for Boosey
156
reworked and repurposed
1827 J. Berryman cover for Bulcock
163, 164 (Fig. 5.17 top)
1828 Audot demon with drapery in combined pictorial cover
187–88, 187 (Fig. 6.9), 362
1843 Tilt and Bogue parts in combined gilt title on binding
170, 171 (Fig. 5.19), 176, 366, 375
1865 Frey vignette for Frijlink
165 (Fig. 5.18, l. 1 col. 2)
parodied
1834 Crowquill
259, 262
remediated
1822–23 on KPM porcelain plate painted
334–38, 336 (Fig. 12.2, l. 2 col. 3)
influencing
1828 Lefèvre’s matching set at Porte-Saint-Martin theatre
281
1829 Weimar performance
280
1859 “Villa monde brillant” show
288
Pl. 8 Faust accosting Margaret
12, 25, 28–30, 46 (Fig. 1.8), 48, 80, 92, 110, 116, 188, 247, 248 (Fig. 7.27 bottom), 273, 274, 294, 319, 321, 332
preparatory drawing
67
carefully coloured copy in R set
89, 92
copied and repurposed
1818 anon. engraving for Jaeger
112
1821 vignette in circular ornament
151, 152 (Fig. 5.10a), 153 (Fig. 5.10b)
1840 vignette in Baudry’s synoptic frontispiece
201–3, 202 (Fig. 6.17, l. 1 col. 2)
1850 Frère cut by Rouget for Bry
203, 204 (Fig. 6.18)
parodied
1834 Crowquill Faust Sees Margaret for the First Time
256 (Fig. 8.1a), 259, 262
remediated
1821 on KPM porcelain plate painted
334–38, 335 (Fig. 12.1, l. 4 col. 1)
1822–23 on KPM porcelain plate painted
334–38, 336 (Fig. 12.2, l. 3 col. 1)
influencing
1828 Delacroix lithograph of meeting in Faust
242, 247, 248 (Fig. 7.27 top)
n.d. Brand print Herr und Madame Schütz (als Faust und Gretchen), theatre posture
293–94, 294 (Fig. 9.15)
1849 Phiz in Dickens
313–21, 314 (Fig. 10.2), 316 (Fig. 10.4), 317 (Fig. 10.5)
omitted
1821 from Harmonie preparations
274
Pl. 9 Margaret musing in her chamber
13, 81, 83–84, 92, 188, 273, 278 (Fig. 9.6), 279, 288, 291, 307–8, 309
R’s post-production replica
69
drawing in double strip
70–71, 71 (Fig. 2.6)
copied
Knittlingen, Faust-Archiv
217
copied on tracing paper with other figures
n.d. anon. FDH
218, 219 (Fig. 7.5)
copied with alterations
1824 Moses in “kinetic” Faustus
154, 155 (Fig. 5.11a)
1824 Muret lithograph Marguerite dans sa chambre
183, 183 (Fig. 6.6), 188
1887 Ward, Lock & Co. detached as frontispiece
369
reworked and repurposed
1818 anon. engraving for Jaeger
112, 113 (Fig. 3.14a)
1835 Meyerheim lithograph in Scenen aus Goethes Faust
288, 289 (Fig. 9.12), 373
1940 repr. 1951 anon. in Labatut’s ed. for Masson
205, 205 (Fig. 6.19)
remediated
on KPM porcelain plate painted
334–38, 335 (Fig. 12.1, l. 1. col. 1)
1822–23 on KPM porcelain plate painted
334–38, 336 (Fig. 12.2, l. 3 col. 2)
influencing
1820 Brühl with stage transformation
277–79
1820 Schinkel watercolour Margaret’s Chamber
277–79, 278 (Fig. 9.5), 370
1828 Lefèvre’s matching set at Porte-Saint-Martin theatre
281
1829 Weimar performance
280
1839 J. Gley’s theatre costume and posture
291–93, 293 (Fig. 9.14)
1859 “Villa monde brillant” show
288
Pl. 10 Faust and Mephistopheles entering/in Margaret’s chamber
13, 75 (Fig. 2.10), 170, 188, 224, 275, 279, 375
preparatory drawings
67, 69, 73–77, 74 (Fig. 2.9)
copied with alterations
1824 Moses in “kinetic” Faustus
154, 155 (Fig. 5.11b)
1843 Tilt and Bogue “kinetic” alternate visual/textual album
169, 175
reworked and repurposed
1843 Tilt and Bogue combined gilt title on binding (casket detail)
170, 171 (Fig. 5.19), 176, 366, 375
1843 Tilt and Bogue gilt title on binding playing on Illustrations
170–72, 171 (Fig. 5.20), 176, 366, 375
1887 Ward, Lock & Co. detached as frontispiece
369
remediated
1822–23 on KPM porcelain plate painted
334–38, 336 (Fig. 12.2, l. 3 col. 3)
influencing
1854 E. Seibertz, in-text composition
75, 76 (Fig. 2.11)
1875 A. v. Kreling, in-text composition
75–77, 76 (Fig. 2.12)
Pl. 11 Margaret discovers the jewels
14, 75, 81, 89, 188, 224, 279, 288, 291, 307, 321
preparatory drawings
73–75, 74 (Fig. 2.9)
carefully coloured copy in R set
89, 91, 91 (Fig. 2.24 coloured), 92
freehand copied
n.d. Delacroix (figures)
177, 177 (Fig. 6.1b)
copied on tracing paper with other figures
n.d. anon. FDH
218, 219 (Fig. 7.5)
copied with alterations
1821 Moses change of caption
149, 188
1824 Moses in “kinetic” Faustus
154, 155 (Fig. 5.11c)
1828 Muret imprint corrected in 2nd ed.
184
n.d. Moses re-engraving Mephistopheles Leaves Rich Ornaments in Margaret’s Chamber (in unique compound volume)
118, 118 (Fig. 3.18), 139, 149
reworked and repurposed
1818 anon. engraving for Jaeger
112, 113 (Fig. 3.14b), 114
1850 Frère cut by Rouget for Bry
203, 204 (Fig. 6.18)
1865 Frey vignette for Frijlink
165 (Fig. 5.18, l. 2 col. 2)
parodied
1834 Crowquill Margaret Admiring the Present Left by the Devil
260 (Figs. 8.3a, 8.3b coloured), 262
remediated
1821 on KPM porcelain plate painted
334–38, 335 (Fig. 12.1, l. 1 col.2)
1822–23 on KPM porcelain plate painted
334–38, 336 (Fig. 12.2, l. 4 col. 1)
influencing
1828 Maleuvre I would never dare to adorn myself with all these jewels, Marie Dorval as Margaret
294, 295 (Fig. 9.16)
1829 Weimar performance
280
Pl. 12 Martha adorns Margaret with the jewels
14, 81, 89, 92, 188, 208, 224, 273, 296, 320, 320 (Fig. 10.6), 360
preparatory drawing
69
in double strip
70–71, 71 (Fig. 2.6)
carefully coloured copy in R set
89, 92
freehand copied
n.d. Delacroix (isolated figures)
177, 177 (Fig. 6.1b), 178 (Fig. 6.2)
copied on tracing paper with other figures
n.d. anon. FDH
218, 219 (Fig. 7.5)
cut-out, focussed and pasted
1821 in Dibdin’s Bibliographical, Antiquarian and Picturesque Tour
135 (Fig. 4.4c)
cut-out and mounted
n.d. in Devéria compendium
208, 209 (Fig. 6.21 left)
copied with alterations
1820 Moses re-engraving Margaret shews her Treasures to Martha
224
1824 Moses in “kinetic” Faustus
156
1824 Muret lithograph
208, 209 (Fig. 6.21 left)
1843 Tilt and Bogue “kinetic” alternate visual/textual album
169
reworked and repurposed
1818 anon. engraving for Jaeger
112, 113, 113 (Fig. 3.14c)
remediated
1822–23 KPM porcelain plate painted
334–38, 336 (Fig. 12.2, l. 4 col. 2)
influencing
1849 Phiz illustration B for Dickens
313–20, 316 (Fig. 10.4), 317 (Fig. 10.5)
Pl. 13 Margaret at Martha’s, Mephistopheles visiting
15, 81, 89, 91 (Fig. 2.25 coloured), 92, 188, 224, 273, 296
carefully coloured copy in R set
89, 91 (Fig. 2.25 coloured), 92
freehand copied
n.d. Delacroix (isolated figures)
177, 177 (Fig. 6.1b), 178 (Fig. 6.2)
copied
1836 “John” copy at Muskau
220
1948 Knittlingen copy, Faust-Archiv
217, 378
copied with alterations
1820 Moses re-engraving for Boosey Mephistopheles Informs Martha of her Husband’s Death
224
1843 Tilt and Bogue “kinetic” alternate visual/textual album
169, 175
reworked and repurposed
1850 Frère cut by Rouget for Bry
243, 244 (Fig. 7.24a, left)
remediated
1821 on KPM porcelain plate painted
334–38, 335 (Fig. 12.1, l. 2 col. 1)
1822–23 on KPM porcelain plate painted
334–38, 336 (Fig. 12.2, l. 4 col. 3)
influencing
1825 Terry’s theatre costume
291, 292 (Fig. 9.13)
1885 Irving’s theatre costume
296–97, 299–301, 300 (Figs. 9.18, 9.19), 301 (Fig. 9.20)
Pl. 14 Garden scene (Margaret plucking the daisy)
15, 188, 213–14, 222–24, 291, 305, 307, 313, 315 (Fig. 10.3), 358
preparatory drawings
72
freehand copied
n.d. Delacroix (Martha detail)
177, 178 (Fig. 6.2)
copied and coloured
carefully coloured copy in R set
89, 92
anon. redrawn and coloured
92, 93 (Fig. 2.26), 378
copy in oils
221n15
cut-out, focussed and pasted
1821 in Dibdin’s Bibliographical, Antiquarian and Picturesque Tour
134 (Fig. 4.4b)
copied with alterations
1820 Moses re-engraving for Boosey The Decision of the Flower
224, 305, 315, 319, 327–29, 328 (Fig. 11.2)
reworked and repurposed
1821 vignette in circular ornament
151, 152 (Fig. 5.10a), 153 (Fig. 5.10b)
1825 J. M. Wright The Decision of the Flower engraved by Ch. Heath, in The Literary Souvenir
224–25, 225 (Fig. 7.9), 371
as standalone print
224
1825 G. Hering lithograph The Decision of the Flower (untraced)
371
1828? É. Robert, La Décision de la fleur reverse lithograph
225, 227, 229 (Fig. 7.12), 372
1850 Frère cut by Rouget for Bry
210, 243, 244 (Fig. 7.24a, right)
1938 anon. after Frère for Gründ
208–10 (Fig. 6.22), 243, 378
1929 vignette in Gyldendal Danish edition
369
repurposed with patriotic overtones
n.d. Grünewald lithograph “Er liebt mich—liebt mich nicht”
222–24, 227–29, 230 (Fig. 7.15), 375
n.d. Müller lithograph “Er liebt mich—liebt mich nicht”
222–24, 227–29, 230 (Fig. 7.14), 375
n.d. Zimmermann lithograph “Er liebt mich—liebt mich nicht”
222–24, 227–29, 230 (Fig. 7.13), 375
as twin set with Bester Mann! (Dresden, Pietzsch)
233
parodied
1834 Crowquill
259
remediated
c.1820? on Meissen pipe bowl
229, 340, 341 (Fig. 12.4)
1822–23 on KPM porcelain plate painted
229, 334–38, 337 (Fig. 12.2, l. 1 col. 1)
1840 on Nathusius pipe bowl after Nisle (← R)
343, 345 (Fig. 12.6b), 370, 375
as lithophane (Meissen 119, KPM 162)
347, 374
ante 1868 as lithophane veilleuse théière by J. Petit
347, 348 (Fig. 12.7)
1886 as advertisement on Beecham’s Faust booklet
352, 353 (Fig. 12.11), 378
c.1907 as embossed postcard
229–31, 231 (Fig. 7.16)
original or copies influencing
1816 Marianne v. Willemer
332
1823 Byron’s gift
327–29
1826 Disraeli in Vivian Grey
305
1828 Porte-Saint-Martin performance
290
1829 Colin lithograph in troubadour style
225–26, 226 (Fig. 7.10), 372
1849 inserted in Phiz final plate C for Dickens
313–21, 314 (Fig. 10.2)
1849 Phiz in sketch A for Dickens (?)
316 (Fig. 10.4), 318–21
1852 Gautier in press review
307
1859 “Villa monde brillant” show
288
1850 Ch. Lever, Roland Cashel
318
n.d. N. Maurin lithograph Marguerite consulte une fleur pour savoir si elle est aimée de Faust
226–27, 228 (Fig. 7.11)
Pl. 15 Faust and Margaret kissing
16, 49, 73, 80, 188, 222–24, 232–33, 232 (Fig. 7.17), 242, 247, 357, 358
preparatory drawings
77, 78 (Figs. 2.13, 2.14), 79 (Figs. 2.15, 2.16)
carefully coloured copy in R set
89, 92
redrawn in ink
1822 G. R.
217–18, 218 (Fig. 7.4), 371
copied with alterations
1820 Moses re-engraving for Boosey specially offered with 1st batch of prints
138, 224
1820 Moses re-engraving for Boosey Margaret Meets Faust in the Summer House
224, 232–33, 327–29, 328 (Fig. 11.3)
1824 Muret lithograph Faust et Marguerite dans un pavillon
183, 233, 234 (Fig. 7.18 bottom right)
post 1847 cut-out and mounted by Devéria
233, 234 (Fig. 7.18 bottom right)
reworked and repurposed
1826 J. M. Wright The Kiss, engraved by W. Humphreys in The Literary Souvenir
224–25, 225 (Fig. 7.8), 371
as standalone print,
224
post 1847 cut-out and mounted by Devéria
233, 234 (Fig. 7.18 top left)
1828? Édouard Robert, Le Baiser reverse lithograph
225, 234 (Fig. 7.18 top right), 372
post 1847 cut-out and mounted by Devéria
233, 234 (Fig. 7.18 top right)
1828 in Audot’s combined pictorial cover
187–88, 187 (Fig. 6.9), 362
1832 as choice frontispiece in Lumley exemplar
157, 157n84, 158 (Fig. 5.13), 233, 364
1840 vignette in Baudry’s synoptic frontispiece
201–3, 202 (Fig. 6.17, l. 2 col. 1)
1843 Tilt and Bogue “kinetic” alternate visual/textual album
169
crucially modified and repurposed
1837 Schuler engraving Faust und Gretchen
236–38, 237 (Fig. 7.21a), 374
steel engraved in Album aus der Damenzeitung Iris
237 (Fig. 7.21b), 238, 376
reworked and repurposed in historical attire
n.d. Zimmermann lithograph “Bester Mann, von Herzen lieb’ ich dich!”
223–24, 233–36, 236 (Fig. 7.20)
n.d. Müller lithograph “Bester Mann, von Herzen lieb’ ich dich!”
223–24, 233
n.d. Grünewald lithograph “Bester Mann, von Herzen lieb’ ich dich!”
223–24, 233–36
c.1880 Patzschke coloured lithograph “Bester Mann, von Herzen lieb’ ich dich!”
238–39, 238 (Fig. 7.22)
as twin set with Er liebt mich (Dresden, Pietzsch)
233
parodied
1834 Crowquill
259
remediated
1821 on KPM porcelain plate painted
334–38, 335 (Fig. 12.1, l. 2 col. 2)
1822–23 on KPM porcelain plate painted
334–38, 337 (Fig. 12.2, l. 1 col. 2)
1834–41 as lithophane in Woburn window
347, 350 (Fig. 12.9), 373
c.1830–40 on KPM pipe bowls painted
340–43, 342 (Fig. 12.5a), 343 (Fig. 12.5b)
1840 on Nathusius pipe bowl combined with garden scene
343, 345 (Fig. 12.6b), 370, 375
as candle screen on advertisement postcard
347, 349 (Fig. 12.8)
as lithophane
340n20, 347
R original or 1820 Moses’s Margaret Meets Faust in the Summer House influencing
1822 P. B. Shelley
1, 154, 233, 247
1823 Byron’s gift?
327–29
1826 A. Watts, “The First Kiss: A Poetical Sketch”
224, 224n23, 371
1826 Disraeli in Vivian Grey
305
1840 Nisle print combined with garden scene
343, 344 (Fig. 12.6a), 374
post 1847 further French romantic versions mounted by Devéria
233, 234 (Fig. 7.18), 371
n.d. N. Maurin, lithograph Réunis dans un pavillon du jardin
233, 235 (Fig. 7.19)
c.1850 W. v. Kaulbach steel engraved by A. Hoffmann
233, 233n34
1859 Hayez, Il Bacio. Episodio della giovinezza. Costumi del secolo XIV
242, 247–51, 249 (Fig. 7.28), 357, 377
reproduction prints of Bacio in paintings
250
1861 Hayez, Il Bacio
250–51, 251 (Fig. 7.29), 377
1867 Hayez, Il Bacio or Il Bacio del volontario
250–51, 251 (Fig. 7.30), 377
Bacio reworked and repurposed
251–54, 252 (Fig. 7.31a), 253 (Fig. 7.31b)
Pl. 16 Margaret at the spinning wheel
16, 80, 98 (Fig. 3.1b), 188, 279, 288, 291, 332
1830 in later Cotta ed.
98 (Fig. 3.1a), 99
preparatory drawings
72 (Fig. 2.7), 73
in double strip
70–71, 71 (Fig. 2.6)
carefully coloured copy in R set
89, 92
freehand copied
n.d. Delacroix
177, 177 (Fig. 6.1a), 298
cut-out, focussed and pasted
1821 in Dibdin’s Bibliographical, Antiquarian and Picturesque Tour
134 (Fig. 4.4b)
as trial etching
anon. c.1830 in Laborde exemplar
196 (Fig. 6.15b)
copied with alterations
1824 Moses in “kinetic” Faustus
156
reworked and repurposed
1850 Frère cut by Rouget for Bry
243–45, 244 (Fig. 7.24b, far left)
1865 Frey vignette for Frijlink
165 (Fig. 5.18, l. 3 col. 1)
remediated
1822–23 on KPM porcelain plate painted
334–38, 337 (Fig. 12.2, l. 1 col. 3)
influencing
1820 Schinkel’s watercolour décor
278 (Fig. 9.5), 279, 288
theatre décors
308
tin figurines
349
Pl. 17 Margaret imploring the Mater Dolorosa
17, 80, 97, 279, 334
preparatory drawing
69
carefully coloured copy in R set
89, 92
hand copied
1834 Queen Victoria
358, 373
copied with alterations
1824 Moses in “kinetic” Faustus
156
remediated
1822–23 on KPM porcelain plate painted
334, 334n10
Pl. 18 Cathedral scene
17, 80–81, 270, 271 (Fig. 9.1), 272–73, 307
as rebel plate
80, 99, 103, 138, 175, 181, 182, 195, 219, 361, 363
as subjugated print
103, 138, 149, 154, 168, 192, 360
preparatory drawing
69
in double strip
70–71, 71 (Fig. 2.6)
carefully coloured copy in R set
89, 92
freehand copied
n.d. Delacroix, isolated figures
177, 177 (Fig. 6.1a), 178 (Fig. 6.2)
copied
1836 “John” copy at Muskau
219
n.d. on tracing paper with other figures
n.d. anon. FDH
218, 219 (Fig. 7.5)
copied with alterations
1820 Moses re-engraving for Boosey The Evil Spirit Whispers Despair to Margaret while at Mass
138
1824 Moses in “kinetic” Faustus
156
reworked and repurposed
1850 Frère cut by Rouget for Bry
244 (Fig. 7.24b, left), 245
remediated
1822–23 on KPM porcelain plate painted
334–38, 337 (Fig. 12.2, l. 2 col. 1)
influencing
Braunschweig performance (following R’s order)
178–80
omitted
1821 from Harmonie preparations
274
Pl. 19 Rigged duel with Valentine
18, 80, 99, 103, 273
freehand copied
n.d. Delacroix
177, 178 (Fig. 6.3)
as trial lithograph in c.1830 Laborde exemplar
195
copied with alterations
1820 Moses re-engraving for Boosey Valentine Fights with Faust
138
1824 Muret lithograph
181
c.1827 in Riepenhausen pirated copy
110
1843 Tilt and Bogue “kinetic” alternate visual/textual album
169, 175
reworked and repurposed
1840 vignette in Baudry’s synoptic frontispiece
201–3, 202 (Fig. 6.17, l. 2 col. 2)
1850 Frère cut by Rouget for Bry
244 (Fig. 7.24b, top right) 245
1884? C. Votteler, coloured lithographic cover
106–7, 107 (Fig. 3.9), 368
parodied
1834 Crowquill
259
remediated
1822–23 on KPM porcelain plate painted
334–38, 337 (Fig. 12.2, l. 2 col. 2)
as fire screen?
333, 346
Pl. 20 Valentine dying upbraids his sister
18, 73, 73 (Fig. 2.8), 80, 82, 92
preparatory drawings
69, 73
in double strip
71, 71 (Fig. 2.6)
carefully coloured copy in R set
89, 92
reworked and repurposed
1820 anon. engraving for Jaeger
114
remediated
1822–23 on KPM porcelain plate painted
334–38, 337 (Fig. 12.2, l. 2 col. 3)
omitted
1821 from Harmonie preparations
274
Pl. 21 Faust and Mephistopheles ascending the Brocken
19, 157, 159 (Fig. 5.14), 247, 273
preparatory drawings
67, 69
copied with alterations
1820 Moses re-engraving for Boosey
140, 157
1824 Moses in “kinetic” Faustus
156
copied and repurposed
1886 Ward, Lock & Co. detached as frontispiece
369
1900 vignette in Les Sciences maudites
208, 378
remediated
1821 on KPM porcelain plate painted
334–38, 335 (Fig. 12.1, l. 4 col. 2)
1822–23 on KPM porcelain plate painted
334–38, 337 (Fig. 12.2, l. 3 col. 1)
influencing
1822 P. B. Shelley “The May-Day Night Scene”
157–59
1824 Heine Harzreise
303–4
1828 Delacroix, lithograph 14 in Faust
247
Pl. 22 Walpurgis Night/the witches’ revel
19, 42, 82–83, 145, 147 (Fig. 5.7), 170, 303, 307, 311, 375
preparatory drawing
69
freehand copied
n.d. Delacroix
177, 178 (Fig. 6.3), 245
1853 Alfred Edward, Prince of Wales
358, 376
copied with alterations
1820 Moses re-engraving for Boosey
140, 145, 146 (Fig. 5.6), 154
1821 Moses re-engraving for Boosey (read by Shelley)
154
1824 Stone re-engraving, naked witches clothed
142
1843 Tilt and Bogue “kinetic” alternate visual/textual album
169, 175
copied and repurposed
1886 Ward, Lock & Co. detached as frontispiece
369
1900 half-page illustration in Les Sciences maudites
208, 378
reworked and repurposed
1843 Tilt and Bogue combined gilt title on green binding (hag detail)
170, 171 (Fig. 5.19), 176, 366, 375
1850 Frère cut by Rouget for Bry
244 (Fig. 7.24b, bottom right), 245
influencing
1824 Heine Harzreise
303–4
1824 stage sets for Milner’s Faustus
281
1828 Lefèvre’s matching set at Porte-Saint-Martin theatre
281
1828 Porte-Saint-Martin performance
290
1855 Gautier in art criticism
307
1859 “Villa monde brillant” show
287–88
1883 Pollock, The Picture’s Secret, plot and character construction
311–13
censored (omitted)
157
1821 in Dibdin’s Bibliographical, Antiquarian and Picturesque Tour
133
1822–23 in KPM plates
334
1940 in Labatut’s ed. for Masson
205, 369
missing
from c.1830 Laborde trial exemplar
195
Pl. 23 Faust confronting Mephistopheles
20, 83, 169, 188, 221, 262, 263 (Fig. 8.4)
as trial lithograph
Magnenat, Faust accable Méphistophélès de reproches, in c.1830 Laborde trial exemplar
196 (Fig. 6.15a)
copied and modified
Ross, Faust fighting Mephistopheles
221
copied with alterations
1843 Tilt and Bogue “kinetic” alternate visual/textual album
169
reworked and repurposed
1820 anon. engraving for Jaeger
114 (Fig. 3.15a)
in combined pictorial cover (Mephistopheles), Audot, 1828
187–88, 187 (Fig. 6.9), 362
parodied
1834 Crowquill Faust Hears that Margaret Is in Prison
259, 262, 263 (Fig. 8.5)
1841 Lachgern parodying Crowquill
263 (Fig. 8.5), 264
remediated
1822–23 on KPM porcelain plate painted
334–38, 337 (Fig. 12.2, l. 3 col. 2)
influencing
1825 Terry’s theatre costume
291, 292 (Fig. 9.13)
1885 Irving’s theatre costume
296–97, 299–301, 300 (Figs. 9.18, 9.19), 301 (Fig. 9.20)
Pl. 24 Faust and Mephistopheles riding past the Rabenstein
20, 83, 84 (Fig. 2.20), 284, 285 (Fig. 9.11 bottom)
copied and repurposed
1820 anon. engraving for Jaeger
114 (Fig. 3.15b)
1821 vignette in circular ornament
151, 152 (Fig. 5.10a), 153 (Fig. 5.10b)
1840 vignette in Baudry’s synoptic frontispiece
201–3, 202 (Fig. 6.17, l. 3 col. 1)
remediated
1822–23 on KPM porcelain plate painted
334–38, 337 (Fig. 12.2, l. 3 col. 3)
influencing
1834 Eytel’s iconography for Kurtz
118, 373
1859 Thierry design for stage curtain (later painting)
284, 285 (Fig. 9.11 top), 377
Faustian romantic iconography
204
Pl. 25 Margaret prostrate in prison
21, 81, 83, 273, 298, 298 (Fig. 9.8)
carefully coloured copy in R set
89, 92
copied with alterations
1843 Tilt and Bogue in “kinetic” alternate visual/textual album
169
reworked and repurposed
1820 anon. engraving for Jaeger
114 (Fig. 3.15c)
remediated
1822–23 on KPM porcelain plate painted
334–38, 337 (Fig. 12.2, l. 4 col. 1)
influencing
1828 actors’ performance at Porte-Saint-Martin theatre
290
1828 Béraud, Merle, and Nodier’s Faust stage directions
282
1828 Lefèvre’s matching set at Porte-Saint-Martin
281
c.1831 L. Bertin’s stage directions in score
283
1859 É. Despléchin’s stage set
283–84, 284 (Fig. 9.10)
romantic prison iconography
204
Pl. 26 Faust exhorts Margaret to leave the prison
22, 72–73, 80, 81, 81 (Fig. 2.17), 84, 273, 291, 307
preparatory drawings
67, 72–73
copied with alterations
1843 Tilt and Bogue “kinetic” alternate visual/textual album
169
reworked and repurposed
c.1831 cover vignette for Bertin, Ultima scena di Fausto
282–83, 283 (Fig. 9.9)
1832 choice frontispiece in Lumley
364
1840 vignette in Baudry’s synoptic frontispiece
201–3, 202 (Fig. 6.17, l. 3 col. 2)
1865 Frey vignette for Frijlink
165 (Fig. 5.18, l. 3, col. 2)
parodied
1834 Crowquill Margaret Refuses to Leave the Prison
256 (Fig. 8.1b), 259, 261, 268
remediated
1822–23 on KPM porcelain plate painted
334–38, 337 (Fig. 12.2, l. 4 col. 2)
influencing
1828 Lefèvre’s matching set at Porte-Saint-Martin theatre
281
1847 T. Johannot’s Mephistopheles
206 (Fig. 6.20), 207
1859 “Villa monde brillant” show
288
romantic prison iconography
204
omitted
in 1841 Lachgern Bilder zu Goethes Faust
264
4 Additional Faust Outlines and Other Faust Drawings
1834 Faust I additional plates in Cotta album Umrisse zu Goethe’s Faust
insert pl. 5 Mephistopheles lulls Faust to sleep
22, 103, 104 (Fig. 3.7), 364
n.d. R’s post-production replica
69
c.1850–60 G. Koch unmarked painted plate
338–40, 339 (Fig. 12.3), 377
insert pl. 7 second Auerbach scene
23, 103, 364
n.d. R’s post-production replica
69
insert pl. 19 Faust handing Gretchen the phial
24, 103, 213–14, 214 (Fig. 7.1), 351–52, 364
n.d. R’s post-production replica
69
c.1829 refocussed by R for extra-illustrated AlH
213–14, 215 (Fig. 7.2)
1929 vignette in Gyldendal Danish edition
369
1979 Fechner tin showcase figurines
351–52, 351 (Fig. 12.10)
1836 sq. Umrisse zu Faust, zweiter Theil (Faust II)
36, 99, 101–2, 106
1836 Cotta original blue and fuchsia portfolio
54, 101–2, 103, 103 (Fig. 3.6), 105, 105 (Fig. 3.8), 365
1837 Black and Armstrong English release with add-ons
105–6, 105 (Fig. 3.8), 167
reworked and repurposed plates
pl. 4 (Classical Walpurgis) 1840 vignette in Baudry’s synoptic frontispiece
201, 202 (Fig. 6.17, l. 4 col. 1)
pl. 10 (death of Faust)
172, 173 (Fig. 5.22)
1849 Leighton decorative spine
172–75, 172 (Fig. 5.21), 376
1840 vignette in Baudry’s synoptic frontispiece
201, 202 (Fig. 6.17, l. 4 col. 2), 366
1836 Cotta combined Faust I and Faust II album
54, 105–7, 365
pre-1839? combined Cotta album printed in Stuttgart
106, 365
1884? combined Cotta album with Votteler cover printed by Kröner
106–7, 107 (Fig. 3.9), 368
Other R drawings after Goethe’s Faust
1810 “Outside the City Walls” sent to Goethe(?)
63
1810 “Witch’s Kitchen” sent to Goethe(?)
63
1847 Faust and Gretchen in the garden, pencil drawing (FDH)
100 (Fig. 3.5), 101, 213
n.d. cathedral in uneven octagonal shape (FDH)
101
n.d. Faust and Gretchen(?), double portrait in pencil (HAAB)
100 (Fig. 3.4), 101, 233
n.d. Faust and Gretchen on garden bench (Berlin)
101, 213
n.d. Faust and Margaret, full-length portrait in pencil outline (Beinecke)
100 (Fig. 3.2), 101
n.d. Faust, pencil and chalk double portrait (HAAB)
100 (Fig. 3.3), 101
n.d. three artworks on Faust and Gretchen in historical costume (Berlin)
101n30
5 Printed Editions of R’s Faust I Outlines (original and copied)
copied foreign editions
in Belgium see Index → Feuillet-Dumus; Meline; Meline, Cans and Co.
in France see Index → Audot; Auvray; Baudry; Bry; Giard; Gründ; Masson et Cie
in Great Britain see Index → Bell; Berthoud; Boosey; Bulcock; Gibbings; Lumley; Prowett; Sampson Low, Marston & Co.; Tilt and Bogue
in Lithuania see Index → Zawadzki
in the Netherlands see Index → Frijlink
in the USA see Index → Estes and Lauriat; Stone
original German editions see Index → Cotta, J. F., and Cotta, G.
pirated editions (Nachdrücke)
c.1825 lithographed duplicate (former Tille coll.)
108, 361
1827 Jäger Nachdruck (?), unidentified
108
c.1827 engraved copy involving the Riepenhausens
109–12, 111 (Figs. 3.10a, 3.10b), 362
n.d. copy with expurgated male attributes (Bodmer coll.)
108, 362
unique copied exemplars
1836 “John” hand-made copy at Muskau
219–21, 373
1820 Moses English prints inlaid with 1816 German pocket Faust
118–19, 118 (Fig. 3.18), 360
6 Other Works
albums of drawn reveries
36
designs for objects
Intemperance Tankard for Tiffany
333–34
joint pictorial diary by R brothers
28–30, 29 (Fig. 1.8), 31 (Fig. 1.3), 44, 89, 270–71, 272 (Fig. 9.2)
paintings
c.1810 life-size portraits of J. A. Thielmann and wife Wilhelmine
34, 60
1824? Die vier Jahreszeiten after Fouqué
37
Carl Boromäus von Miltitz and Auguste von Miltitz, double portrait
32–33, 32 (Fig. 1.4)
Diana canvas with drawings
39–40
Egmont after Goethe
35
Erlking (The) after Goethe
35
Faust and Gretchen in half figure
101
Fisherman (The) after Goethe
35
Idylls after Gessner
34–35
Sintram after Fouqué
34
Undine after Fouqué
30, 33, 34
Wilhelm Meister’s Apprenticeship after Goethe
35
R’s outlines after other literary works (followed by copies)
Bürger
1840 Umrisse zu Buerger’s Balladen
33, 36, 40, 67, 85, 85n
1840 Retzsch’s Outlines to Buerger’s Ballads
85n
ballad of Leonora
88
1872 Umrisse zu Bürgers Balladen
60, 60n41
1873 Outlines to Bürger’s Ballads
60, 60n41
Schiller
1814? *Der Kampf mit dem Drachen (Dieterich)
109
1814? *Fridolin (Dieterich)
109
1823 Fridolin (Cotta)
42, 54, 95, 96, 189
1824 Fridolin, or The Road to the Iron-Foundery: A Ballad, re-engraved by Moses (Prowett)
123, 156, 361
1829 Fridolin, French copy (Audot)
188, 189, 307, 309
1829 Fridolin, trans. by J. W. Lake (Ackermann and Tilt)
170, 179, 189
1824 Der Kampf mit dem Drachen (Cotta)
42, 54, 96, 104, 156, 189
1825 Der Kampf mit dem Drachen, German prints imported by Boosey
156
1825 The Fight with the Dragon: A Romance, re-engraved by Moses (Prowett)
123, 151n68, 156, 361
1829 Le Dragon de l’île de Rhodes, French copy (Audot)
188, 189
1833 Umrisse zu Schiller’s Lied von der Glocke nebst Andeutungen (Cotta)
36, 67, 101, 214, 216 (Fig. 7.3a), 218, 372, 374
parts of pl. 1 & 2 anon. copied on tracing paper with other motifs (FDH)
218, 219 (Fig. 7.5)
pl. 19
214, 216 (Fig. 7.3a)
1835 Heath The German Lovers, re-engraved and repurposed in Keepsake for 1835
214–15, 217 (Fig. 7.3b)
1833 Pegasus im Joche nebst Andeutungen (Cotta)
36, 101
1833–37 Bürgschaft (unpublished)
36, 44n111
Shakespeare
1827 Hamlet (16 pl. and a title vignette)
60, 97, 99, 109, 110, 358
1828 French copy in steel (Audot)
187n46, 188, 189
1827–46 Shakespeare Gallery
27, 42, 96, 97, 99, 101, 102, 189, 357, 358
French version (Audot)
189
1833 Macbeth
101
1836 Romeo and Juliet
33
1838 King Lear
33;
Index → Dante
R’s own outlines and outlines in own albums
1810 “Mythologische Darstellungen” known in one exemplar
39, 61
1831 trilingual Phantasien und Wahrheiten/Fancies and Truths/Fantaisies et Réalités
37, 101
Der Kuß: Altes und neues Coelibat (Old and New Celibate)
77–80
1831 (1834) trilingual Die Schachspieler (The Chess Players)
33, 89n123, 101, 310
1853 copied by Albert Edward, Prince of Wales
358
as tableau vivant for R’s birthday
271
1834 trilingual Fantasien: Fancies. A Series of Subjects in Outline
27, 27n26, 37
The Genius of Poetry/The Fate of the Poet, pl. 3
33, 88
1840 Winzerzug (Parade of the Vinedressers), 8 lithographic prints
37, 40, 70, 212, 271, 334
n.d. unsigned wood-carved relief
212
1852 Fancy from “Selections from the Portfolio of MR”
38–39, 38 (Fig. 1.6)
R’s visionary drawings
37;
1. Family, Life, and Career → R as breadwinner → portraits and miniatures
7 Aesthetics, Inspiration, and Technique
allegory, treatment of
28, 33, 36, 37–38, 50, 310
Fancy
37–39, 38 (Fig. 1.6);
6. Other Works → 1831 trilingual Phantasien und Wahrheiten; 1831 (1834) trilingual Die Schachspieler (The Chess Players)
colour
absence in outlines
1, 357
use in –ed set
88–92, 90 (Figs. 2.22, 2.23), 91 (Figs. 2.24, 2.25), 296, 296 (Fig. 9.17);
Index → colour → symbolic use
drawing
–s used for etching
67–69, 74–75, 74 (Fig. 2.9), 75 (Fig. 2.10)
early equivalent of painting
37, 38, 39–40, 43, 50
vs. imitative drawing (Nachzeichnen)
26, 40
etching
as calque
298
as endgame
4, 357;
as reproduction vehicle
as intercultural tool
3
as own art
33–34, 38, 40, 48, 52, 69–70, 101
cleaning and retouching Faust plates
40, 66, 69, 95, 101–2
drawings as preparatory to –
77
drawings used in –
64, 66, 67–69
etching by trial and error
69
as reproduction vehicle
3, 4, 42, 48–49, 51, 64, 69–71, 96, 213, 233, 298
R as “Poet in reproduction”
42, 355;
9. Effect and Function of R’s Faust I Outlines → upshots → reproduction
painting
28, 32–33
commissions
26–27, 34
graphic art vs. painting
37, 39–40, 43, 50, 54, 180
history and literature
26, 34–35, 39–40, 101
imitative – (nachmalen)
25–26
–s lost through wars
32, 32 (Fig. 1.4), 34;
colour
8 R’s Distinctive Outline Treatment
adapting Flaxman
122, 123–24
adapting/modifying –
4, 49, 61, 86–89, 240, 357
compared to
42–43, 48, 50, 54, 77, 88, 121n13, 121–24, 180, 189, 213, 279
conforming to
48
distinct features
eroticism/sexual yearning
25, 39, 50, 52, 67, 73–77, 80, 82, 85, 88, 103, 141, 145, 172, 203, 213–14, 224, 232, 327–29
fanciful/playful disposition
25, 50, 52
from classical to romantic
50
grotesque
25, 37, 38–39, 38 (Fig. 1.6), 50, 82, 82 (Fig. 2.18), 88
humour/wit
28, 44, 50, 62, 82, 83, 88, 110, 357
imaginative brio
62
metamorphosis
25, 39
moral symbolism
80, 357
personal reading of G’s Faust through drawings
28–31, 67–86
sentimentality
25, 80, 115, 120, 269, 343, 357
(misleading) simplicity
89, 94, 162, 291, 298, 330
specific outline treatments
anon. multiple set free for all
108, 357, 358
propagation vehicle
42, 69, 71, 94, 355
details stirring interpretation
2, 73, 82–84, 87, 110, 115–16, 124, 189, 190, 240, 273, 279, 306, 308, 321
fluidity of line
39
frame dimensions per scene location
81, 96, 102, 273
independence from text
36, 80–81, 149, 169, 189, 291
line weight (reinforced contours)
67, 92, 168, 195
vs. academic canon
26, 43
9 Effect and Function of R’s Faust I Outlines
assets
bordering Faust in sharp contours
5, 6, 80, 258, 271–72, 273, 286, 298
explanation
273
initiatory/allusive
48, 87, 110, 162, 169, 305, 321;
Index → outline, aesthetic medium → by Schlegel → and initiation
interpretation through visual media
4, 5, 6, 36, 45, 80, 82, 83, 84, 87, 89, 93, 94, 116, 122, 124, 129, 136, 206, 213, 242, 257;
Index → picture story
narrative vigour
80, 357
overall image planning
37
R’s prints as archetypes see Index → printed items → as archetypes/templates
resilience/adaptability
42, 45, 50, 51, 66, 68–69, 106, 108–15, 125, 136, 139–45, 166, 175, 184, 201, 212, 216, 242, 245, 279, 284, 286, 321, 338, 355, 356, 357
stimulating symbolism
73, 87, 310, 312–13;
Index → symbolism
stirring emotions
62, 87–88, 92, 136, 273, 329–330, 332
stylization and characterization
43, 80, 189
synoptic summary
5, 6, 136, 149, 167, 169, 213, 214, 281, 291
theatricality
241, 270–73
pull of etching on stage
189, 274–76, 286–87
functions
creating stereotypes
84, 206
drill tools for copying
184, 185–86, 210, 216, 356n7
empowering interactive reading
1, 2, 6, 48, 87, 92, 357
marketing tools
52–54, 55, 162–63, 170–72, 357;
Index → marketing
model etchings for the stage
50, 186–87, 271–72, 273–74, 279–80, 281, 286, 290–91, 296–97, 298
upshots
conversions
cultural mediation
115, 163, 255, 304–13
beyond outlines
254–354
multimedia dissemination
112
templates for objects
334, 347
ingenious interlingual translations
1, 3, 35–36, 50, 122, 130, 136, 137, 166, 179, 358
steering translation
127, 167;
Index → translations (textual); translations (visual)
diffusion across cultures
40, 45, 48–49, 50, 54, 58, 62, 95–112, 136, 137–66, 175–76, 181–211, 212–45, 254, 355–57
making R known
3, 40, 54
mediation card for Goethe’s Faust
1–3, 39, 40, 45, 51, 54, 58, 89, 115–17, 120, 122, 126, 137, 159, 163, 166, 175–76, 179, 183, 201, 206, 208–11, 213, 227, 229–31, 268, 297, 306–7, 338, 340, 356, 357
Faust as democratic work shared by all
136, 240, 250, 358;
Index → reader categories of R’s outlines; reception of Goethe’s Faust
reproduction
and aura
252–54;
Index → aura
and diffusion
4, 28, 242, 357–58;
Index → diffusion (of prints/print culture)
and remediation
3, 77, 136, 137, 163, 227, 255, 277, 286, 291, 298, 355
and replication culture
89, 108, 212;
Index → copying; pirating R
and typification
297–98;
Index → typification/typifying
shifting rules in appreciation
115, 115n87, 136;
Index → engravings/etchings
silent poetry on stage (Gautier)
2, 3, 309, 321, 356
10 Reception
as gifted artist (seen by others)
30, 34, 35, 36, 62, 81, 88, 286;
Index → geistreich
disparaged/redeemed
44–45, 88–89
name misspelt
“d’après Restech”
225, 372
“J. Retsch” (in Bohte’s catalogues)
97, 124
Kretzch
307, 309
Reitsch
201
Reschz
306, 307
Reshtz
306, 307
Retsch (as published by Cotta 1816 & 1820)1
8, 36, 52, 60, 64, 66, 97, 99, 108, 123, 127, 138, 142, 147, 154, 156, 159, 161, 162, 166, 179, 186, 188, 191, 206, 220, 221, 281, 291, 307, 308, 309
Retzch
189
Reztch
307
Rœtzsch
307, 309
reception
80, 95, 96, 120, 121, 157, 180, 181, 200, 206, 210, 242, 356
comparative
3, 5, 95
underrated by copies
4–5, 107, 190, 206, 253, 257, 356–58, 368
uneven/negative
39, 45;
Index → Goethe, Johann Wolfgang v., and R
per area and country
Australia
137, 169, 175, 369
Belgium
99, 181, 197–200, 210, 215, 355, 364
Britain (mainly England)
3, 25, 36, 39, 40, 48–49, 59, 60, 62, 99, 120–76, 179, 180, 215, 224–25, 255–62, 264–68, 281, 291, 294–97, 299–301, 304–6, 311–21, 352, 355, 358
Denmark
200, 355, 369
Europe (including comparative –)
1–3, 39, 40, 54, 60, 62, 99, 106, 122, 163, 166, 170, 179–81, 200, 210, 215–16, 222, 227, 231, 255, 299, 347, 355–56
France
3, 36, 39, 42, 49, 99, 137, 159, 162, 166, 177–97, 200, 201–11, 215, 225–27, 233, 238, 242–47, 257, 279, 281–85, 290–91, 294–95, 299, 301–2, 306–9, 333, 346, 347–48, 355, 356
German States
2, 3–4, 25, 26, 35–36, 37, 39–51, 52–62, 63–67, 80–81, 85–94, 95–119, 122–23, 138, 156, 179–80, 189–90, 200, 201, 215–21, 222–24, 227–31, 233–40, 255, 257, 261–69, 271–81, 286–87, 288–94, 298, 301, 303–4, 329–32, 333–52, 355, 356
Hungary
99, 363
Italy
242, 247–54, 355, 357, 377
Lithuania
137, 159, 163, 166, 215, 355
Netherlands (the)
137, 159, 163–66, 197, 215, 355, 367–68
Poland
137, 163, 200, 215, 220, 367
Russia
58, 200, 287–88, 355
United States of America
3, 25, 28, 37, 80, 137, 142, 153, 169, 173–75, 189, 200, 203, 210, 240–42, 299, 310–11, 323–24, 325–29, 333–34, 347, 355, 361, 368, 376
11 Influence
Cornelius
R compared to –
39, 45–49, 59–60, 61–62, 332
– compared to R
25, 39, 42, 43, 45, 48–49, 50, 60, 61, 62, 65, 87, 240, 247, 280–81, 332, 358
R influenced by –
97, 103
R influenced by Chodowiecki?
71
R influencing
entrepreneurs see Index → Beecham; Berliner Zinnfiguren; Fechner; Petit
French romantic circles see Index → Colin; Devéria; Delacroix; Gautier; Nerval
Goethe
274, 275 (Fig. 9.3 top), 276 (Fig. 9.4 top)
literature/men of letters see Index → Béraud, Merle, and Nodier; Byron; Craig; Dickens; Disraeli; Gautier; Heine; Laborde; Poe; Pollock; Ross; Shelley, P. B.
other artists
176, 239;
Index → Berryman; Corbould; Darley; Delacroix; Frère; Friedrich; Hayez; Jaeckel; Johannot; Kaulbach; Kreling; Leighton; Phiz; Seibertz; Stothard; Votteler
theatre (the)
270–302
Index → Brühl; Craig; Gley; Holtei; Irving; Kladzig; Lefèvre; Schütz-Höffert; Schinkel; Schütz; stage (the) and R’s impact; Terry; Tieck