E. T. A. Hoffmann e Jacques Callot: a ficção da imagem

Hoffmann wrote several fairy tales, including "Princess Brambilla" (1821), which has an remarkable pictorial component: when it was published, the text went along with eight illustrations by Carl Friedrich Thiele, which were derived from original prints made by the Frenchman Jacques Callot. While Callot images portray the Italian theater of the Commedia dell'Arte, Thiele's works follow the plot of the narrative, representing the characters of Hoffmann, who disguise themselves because of the carnival that is taking place in Rome. The costumes and masks worn by the characters however do not ensure them full secrecy. Instead of a complete undercover, they lead to double meanings and double identities so that narrative levels and artistic references overlap and create an effect similar to a set of a polyphonic orchestra (which is a metaphor implied in the very subtitle, where the narrative is called a Capriccio).

Figuras da comédia em prosa

El ilustrador francés Jacques Callot (1592-1635) representó personajes de la Commedia dell’Arte en su obra Balli di Sfessania (1616-1620), compuesta por 24 figuras. Esas imágenes se caracterizan por mostrar personajes en movimiento, teniendo al fondo escenas de la realidad italiana. El romántico alemán E. T. A. Hoffmann (1776-1822) insirió en sus cuentos y romances muchos elementos que remiten a las obras tanto de otros escritores como de pintores y músicos. Callot fue visitado por por Hoffmann en varias de sus publicaciones, entre ellas el cuento “Princesa Brambilla” (1821),que posee ocho imágenes directamente elaboradas a partir del modelo de Callot en Balli di Sfessania. Esas imágenes, sin embargo, no representan meras “ilustraciones” con respecto a la historia. Mucho más que ello, las imágenes demuestran como Hoffmann interpretaba las figuras de Callot y, como ellas sintetizaron la relación del escritor con Italia ( país que siempre deseó, pero nunca logró visitarlo) y con el arte pictórica.

Monumens de l'histoire de France, en estampes et dessins ...

The present 30 volumes seem to have remained with the Dukes of Leuchtenberg, until the ducal library was acquired for sale in 1935 by the dealers Ulrich Hoepli (Milan) and Braus-Riggenbach (Basel). The volumes are not complete, as leaves have been wholly or partly removed throughout; this is particularly evident in preliminary volumes 2 and 10 and volume 75. Prints and the relatively small number of drawings are mostly French, with some German, Dutch and English, and are mostly of the 17th or 18th centuries. They are mounted generally on rectos of leaves, often with hand-written captions. Large prints are occasionally bound in directly; these are often folded. The engraved general title page (bearing the date 1788) appears at the beginning of each volume; below the printed title a hand-written volume number and brief title describing the volume's contents usually appear. In many volumes the title leaf is followed by a hand-written contents leaf listing the section titles, which are also written individually throughout the volume on leaves with etched decorative frames. Sections are numbered continuously throughout the work as a whole. Numbering of the leaves, when present, appears in black ink within each volume at top center recto. Printmakers include B. & J. Audran, Francesco Bartolozzi, Abraham Bosse, Stefano della Bella, Jacques Callot, François Chéreau, Wenceslaus Hollar, Romeyn de Hooghe, Raymond La Fage, Sébastien Le Clerc, Pierre Lepautre, Claude Mellan, Bernard Picart, and Simon Thomassin. There are also early color prints by Gautier-Dagoty and Jean-Baptiste Morret.

E. T. A. Hoffmann's gesammelte schriften.

1.-4. Die Serapions-brüder. 1. bd. Die fermate. Der dichter und der componist. Ein fragment aus dem leben dreier freunde. Der Artushof. Die bergwerke zu Falun. Nussknacker und mausekönig.--2. bd. Der kampf der sänger. Die automate. Doge und dogaressa. Meister Martin, der küfner, und seine gesellen. Das fremde kind.--3. bd. Die brautwahl. Der unheimliche gast. Das fräulein von Scuderi. Spieler-glück.--4. bd. Signor Formica. Erscheinungen. Der zuszmmenhang der dinge. Die königsbraut.--5. bd. Nachstücke. 1. theil: Der sandmann. Ignaz Denner. Die Jesuiterkirche in G. Das sanctus. 2. theil: Das öde haus. Das majorat. Das gelübde. Das steinerne herz.--6. bd. Die elixiere des teufels.--7. bd. Fantasiestücke in Callot's manier. 1. theil: Vorrede von Jean Paul. Jacques Callot. Ritter Gluck. Kreisleriana, nro. 1-6. Don Juan. Nachricht von den neusten schicksalen des hundes Berganza. 2. theil: Der magnetiseur. Der goldene topf. die abentheuer der Sylvester-nacht. Kreisleriana.--8. bd. Lebensanscihten des katers Murr.--9. bd. Klein Zaches, genannt zinnober. Princessin Brammbilla; ein capriccio nach Jakob Callot.--10. bd. Seltsame leiden eines theater-direktors. Meister Flob.--11.-12. bd. Erzählungen aus Hoffmann's letzten lebensjahren. 11. bd. Die doppeltgänger. Die räuber. Die irrungen. Die geheimnisse. Der elementargeist.--12. bd. Datura fastuosa (Der schöne stechapfel). Meister Iohannes Wacht. Die marquise de la Pivardière. Die vision auf dem schlachtfelde bei Dresden. Haimatochare. Der feind. Neueste schicksale eines abentheuerlichen mannes. Des vetters eckfenster. Die genesung.

Trattato delle piante & immaginj de sacri edifizi di Terra Santa /

Woodcut ornaments and tail-pieces.

Samlade skrifter /

v. 1. Legender och visor and Nya dikter -- v. 2. Dikter, Sista dikter and Kung Salomo och Morolf -- v. 3. Ungdomsnoveller -- v. 4. Lifvets fiender and Magistrarne i Österås (2 v.) -- v. 5. Rococonoveller -- v. 6. Sista noveller -- v. 7. Från Gustaf III:s dagar -- v. 8. Diktare och drömmare -- v. 9. Svenska gestalter -- v. 10. Essayer I -- v. 11. Essayer II -- v. 12. Carl von Linné and Johan Wellander (2 v.) -- v. 13. Svensk litteratur I -- v. 14. Svensk litteratur II -- v. 15. Nordisk litteratur -- v. 16. Utländsk litteratur -- v. 17. Teater och drama under Gustaf III -- v. 18. Gustaf III som dramatisk författare -- v. 19. Svensk konst och svensk natur -- v. 20. Niclas Lafrensen d.y. och förbindelserna mellan Svensk och Fransk målarkonst på 1700-talet --v. 21. Utländsk konst -- v. 22. Studier öfver Jacques Callot -- v. 23. Resebref -- v. 24. För och mot.

On medium specificity and discipline crossovers in modern art : An interview with Jacques Ranciére on Medium-Specificity and Discipline Crossovers in Modern Art

Jacques Ranciere's work on aesthetics has received a great deal of attention recently. Given his work has enormous range – taking in art and literature, political theory, historiography, pedagogy and worker's history – Andrew McNamara and Toni Ross (UNSW) seek to explore his wider project in this interview, while showing how it leads to his alternative insights into aesthetics. Rancière sets aside the core suppositions linking the medium to aesthetic judgment, which has informed many definitions of modernism. Rancière is emphatic in freeing aesthetic judgment from issues of medium-specificity. He argues that the idea of autonomy associated with medium-specificity – or 'truth to the medium' – was 'a very late one' in modernism, and that post-medium trends were already evident in early modernism. While not stressing a simple continuity between early modernism and contemporary art, Ranciere nonetheless emphasizes the ethical and political ramifications of maintaining an a-disciplinary stance.

An interview with Jacques Rancière : on medium-specificity and discipline crossovers in modern art

Jacques Rancière's work on aesthetics has received a great deal of attention in recent years. Given his work has enormous range – covering art and literature, political theory, historiography, pedagogy and worker's history – Andrew McNamara and Toni Ross (UNSW) explore his wider critical ambitions in this interview, while showing how it leads to alternative insights into aesthetics. Rancière sets aside the core suppositions linking the medium to aesthetic judgment, which has informed many definitions of modernism. Rancière is emphatic in freeing aesthetic judgment from issues of medium-specificity. He argues that the idea of autonomy associated with medium-specificity – or 'truth to the medium' – was 'a very late one' in modernism, and that post-medium trends were already evident in early modernism. While not stressing a simple continuity between early modernism and contemporary art, Ranciere nonetheless emphasizes the on-going ethical and political ramifications of maintaining an a-disciplinary stance.

Activism, art and social practice : a case study using Jacques Ranciere’s framework for analysis

The question can no longer just be whether “art and social practice” or creative forms of activism are part of larger neo liberal agenda nor if they are potentially radical in their conception, delivery or consumption. The question also becomes: what are the effects of social practice art and design for the artists, institutions, and the publics they elicit in public and private spaces; that is, how can we consider such artworks differently? I argue the dilution of social practices’ potentially radical interventions into cultural processes and their absorption into larger neo liberal agendas limits how, as Jacques Rancière might argue, they can intervene in the “distribution of the sensible.” I will use a case study example from The Center for Tactical Magic, an artist group from the San Francisco Bay Area.

Portrait of Jacques Offenbach Portraits Men

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1838-1839 documents relating to Jacques Judah Lyons and his service to K.K. Beth Shalome, Richmond, Virginia

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Letter of recommendation for Jacques Judah Lyons from Isaac Leeser

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Certificate of Jacques Judah Lyons discharge as hazan in Surinam

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