E. T. A. Hoffmann, self-portrait
From Introduction: Hoffmann’s Prism
From Introduction: Hoffmann’s Prism
E. T. A. Hoffmann, self-portrait. Frontispiece to E. T. A. Hoffmann, Fantasy Pieces in Callot’s Manner: Pages from the Diary of a Traveling Romantic, 2nd edition. Bamberg, 1819. Oak Grove Library Center, call number: 833.6 H71f. Courtesy of Northwestern University Library. Photo by the author.
From Introduction: Hoffmann’s Prism
E. T. A. Hoffmann, Kapellmeister Kreisler in Insanity (Berlin, February 1822). Drawing for the first edition of The Life and Opinions of the Tomcat Murr, volume 3. Staatsbibliothek Bamberg, Art.f.23ga. Photo: Gerald Raab.
From Introduction: Hoffmann’s Prism
E. T. A. Hoffmann, Kapellmeister Johannes Kreisler in a Dressing Gown, After a Life Drawing by Erasmus Spikher (Berlin, January/February 1815). Original watercolor. Staatsbibliothek Bamberg, I R 65. Photo: Gerald Raab.
From Chapter 1: Meyerhold-Dapertutto: Framing the Grotesque
Photo portrait of Vsevolod Meyerhold by Alexei Temerin (1929). КП 180170/477. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.
From Chapter 2: Tairov-Celionati: Mime-Drama and Kaleidoscopic Commedia
Photo portrait of Alexander Iakovlevich Tairov (né Kornblit, 1885–1950). Laurence Senelick Collection.
From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
Sergei Yutkevich, portrait of Sergei Eisenstein (1926). Russian State Archive of Literature and Art, f. 3070, op. 1, ed. khr. 433: 1.
From Chapter 3: Peregrinus Tyss Meets Pipifax: Eisenstein, the Grotesque, and the Attraction
Photo portrait of Meyerhold in his study. КП 319555/2. Copyright © A. A. Bakhrushin State Central Theatre Museum, Moscow.