E. T. A. Hoffmann The provinces What happened to Hoffmann in the provinces? and he started to become "what school principals, parsons, uncles, and aunts call dissolute." Why caused that? Masovia. This was the first time he had lived without supervision by members of his family, and How did he deal with that? His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball.
Did he do the caricatures?
Did Hoffman do the caricatures?
From 1796 Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August--Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznan) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery.  From June 1800 to 1803 he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute."  His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Plock in New East Prussia, the former capital of Poland (1079-1138), where administrative offices were relocated from Thorn (Torun). He visited the place to arrange lodging, before returning to Posen where he married "Mischa" (Maria, or Marianna Tekla Michalina Rorer, whose Polish surname was Trzcinska). They moved to Plock in August 1802.  Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimuthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Cora Hatt in Konigsberg.  At the beginning of 1804 he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Cora Hatt's daughters. He was never to return to Konigsberg. CANNOTANSWER
ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin,
Ernst Theodor Amadeus Hoffmann (commonly abbreviated as E. T. A. Hoffmann; born Ernst Theodor Wilhelm Hoffmann; 24 January 177625 June 1822) was a German Romantic author of fantasy and Gothic horror, a jurist, composer, music critic and artist. His stories form the basis of Jacques Offenbach's opera The Tales of Hoffmann, in which Hoffmann appears (heavily fictionalized) as the hero. He is also the author of the novella The Nutcracker and the Mouse King, on which Pyotr Ilyich Tchaikovsky's ballet The Nutcracker is based. The ballet Coppélia is based on two other stories that Hoffmann wrote, while Schumann's Kreisleriana is based on Hoffmann's character Johannes Kreisler. See also Schumann's Fantasiestücke, Op. 12.

Hoffmann's stories highly influenced 19th-century literature, and he is one of the major authors of the Romantic movement.

Life

Youth
Hoffmann's ancestors, both maternal and paternal, were jurists. His father, Christoph Ludwig Hoffmann (1736–97), was a barrister in Königsberg, Prussia (now Kaliningrad, Russia), as well as a poet and amateur musician who played the viola da gamba. In 1767 he married his cousin, Lovisa Albertina Doerffer (1748–96). Ernst Theodor Wilhelm, born on 24 January 1776, was the youngest of three children, of whom the second died in infancy.

When his parents separated in 1778, his father went to Insterburg (now Chernyakhovsk) with his elder son, Johann Ludwig Hoffmann (1768–1822), while Ernst's mother stayed in Königsberg with her relatives: two aunts, Johanna Sophie Doerffer (1745–1803) and Charlotte Wilhelmine Doerffer (c. 1754–79) and their brother, Otto Wilhelm Doerffer (1741–1811), who were all unmarried. The trio raised the youngster.

The household, dominated by the uncle (whom Ernst nicknamed O Weh—"Oh dear!"—in a play on his initials), was pietistic and uncongenial. Hoffmann was to regret his estrangement from his father. Nevertheless, he remembered his aunts with great affection, especially the younger, Charlotte, whom he nicknamed Tante Füßchen ("Aunt Littlefeet"). Although she died when he was only three years old, he treasured her memory (e.g. see Kater Murr) and embroidered stories about her to such an extent that later biographers sometimes assumed her to be imaginary, until proof of her existence was found after World War II.

Between 1781 and 1792 he attended the Lutheran school or Burgschule, where he made good progress in classics. He was taught drawing by one Saemann, and counterpoint by a Polish organist named Podbileski, who was to be the prototype of Abraham Liscot in Kater Murr. Ernst showed great talent for piano-playing, and busied himself with writing and drawing. The provincial setting was not, however, conducive to technical progress, and despite his many-sided talents he remained rather ignorant of both classical forms and of the new artistic ideas that were developing in Germany. He had, however, read Schiller, Goethe, Swift, Sterne, Rousseau and Jean Paul, and wrote part of a novel titled Der Geheimnisvolle.

Around 1787 he became friends with Theodor Gottlieb von Hippel the Younger (1775–1843), the son of a pastor, and nephew of Theodor Gottlieb von Hippel the Elder, the well-known writer friend of Immanuel Kant. During 1792, both attended some of Kant's lectures at the University of Königsberg. Their friendship, although often tested by an increasing social difference, was to be lifelong.

In 1794, Hoffmann became enamored of Dora Hatt, a married woman to whom he had given music lessons. She was ten years older, and gave birth to her sixth child in 1795. In February 1796, her family protested against his attentions and, with his hesitant consent, asked another of his uncles to arrange employment for him in Glogau (Głogów), Prussian Silesia.

The provinces
From 1796, Hoffmann obtained employment as a clerk for his uncle, Johann Ludwig Doerffer, who lived in Glogau with his daughter Minna. After passing further examinations he visited Dresden, where he was amazed by the paintings in the gallery, particularly those of Correggio and Raphael. During the summer of 1798, his uncle was promoted to a court in Berlin, and the three of them moved there in August—Hoffmann's first residence in a large city. It was there that Hoffmann first attempted to promote himself as a composer, writing an operetta called Die Maske and sending a copy to Queen Luise of Prussia. The official reply advised to him to write to the director of the Royal Theatre, a man named Iffland. By the time the latter responded, Hoffmann had passed his third round of examinations and had already left for Posen (Poznań) in South Prussia in the company of his old friend Hippel, with a brief stop in Dresden to show him the gallery.

From June 1800 to 1803, he worked in Prussian provinces in the area of Greater Poland and Masovia. This was the first time he had lived without supervision by members of his family, and he started to become "what school principals, parsons, uncles, and aunts call dissolute."

His first job, at Posen, was endangered after Carnival on Shrove Tuesday 1802, when caricatures of military officers were distributed at a ball. It was immediately deduced who had drawn them, and complaints were made to authorities in Berlin, who were reluctant to punish the promising young official. The problem was solved by "promoting" Hoffmann to Płock in New East Prussia, the former capital of Poland (1079–1138), where administrative offices were relocated from Thorn (Toruń). He visited the place to arrange lodging, before returning to Posen where he married Mischa (Maria or Marianna Thekla Michalina Rorer, whose Polish surname was Trzcińska). They moved to Płock in August 1802.

Hoffmann despaired because of his exile, and drew caricatures of himself drowning in mud alongside ragged villagers. He did make use, however, of his isolation, by writing and composing. He started a diary on 1 October 1803. An essay on the theatre was published in Kotzebue's periodical, Die Freimüthige, and he entered a competition in the same magazine to write a play. Hoffmann's was called Der Preis ("The Prize"), and was itself about a competition to write a play. There were fourteen entries, but none was judged worthy of the award: 100 Friedrichs d'or. Nevertheless, his entry was singled out for praise. This was one of the few good times of a sad period of his life, which saw the deaths of his uncle J. L. Hoffmann in Berlin, his Aunt Sophie, and Dora Hatt in Königsberg.

At the beginning of 1804, he obtained a post at Warsaw. On his way there, he passed through his hometown and met one of Dora Hatt's daughters. He was never to return to Königsberg.

Warsaw
Hoffmann assimilated well with Polish society; the years spent in Prussian Poland he recognized as the happiest of his life. In Warsaw he found the same atmosphere he had enjoyed in Berlin, renewing his friendship with Zacharias Werner, and meeting his future biographer, a neighbour and fellow jurist called Julius Eduard Itzig (who changed his name to Hitzig after his baptism). Itzig had been a member of the Berlin literary group called the Nordstern, or "North Stars", and he gave Hoffmann the works of Novalis, Ludwig Tieck, Achim von Arnim, Clemens Brentano, Gotthilf Heinrich von Schubert, Carlo Gozzi and Calderón. These relatively late introductions marked his work profoundly.

He moved in the circles of August Wilhelm Schlegel, Adelbert von Chamisso, Friedrich de la Motte Fouqué, Rahel Levin and David Ferdinand Koreff.

But Hoffmann's fortunate position was not to last: on 28 November 1806, during the War of the Fourth Coalition, Napoleon Bonaparte's troops captured Warsaw, and the Prussian bureaucrats lost their jobs. They divided the contents of the treasury between them and fled. In January 1807, Hoffmann's wife and two-year-old daughter Cäcilia returned to Posen, while he pondered whether to move to Vienna or go back to Berlin. A delay of six months was caused by severe illness. Eventually the French authorities demanded that all former officials swear allegiance or leave the country. As they refused to grant Hoffmann a passport to Vienna, he was forced to return to Berlin.
He visited his family in Posen before arriving in Berlin on 18 June 1807, hoping to further his career there as an artist and writer.

Berlin and Bamberg
The next fifteen months were some of the worst in Hoffmann's life.
The city of Berlin was also occupied by Napoleon's troops. Obtaining only meagre allowances, he had frequent recourse to his friends, constantly borrowing money and still going hungry for days at a time; he learned that his daughter had died. Nevertheless, he managed to compose his Six Canticles for a cappella choir: one of his best compositions, which he would later attribute to Kreisler in Lebensansichten des Katers Murr.

On 1 September 1808 he arrived with his wife in Bamberg, where he began a job as theatre manager. The director, Count Soden, left almost immediately for Würzburg, leaving a man named Heinrich Cuno in charge. Hoffmann was unable to improve standards of performance, and his efforts caused intrigues against him which resulted in him losing his job to Cuno. He began work as music critic for the Allgemeine musikalische Zeitung, a newspaper in Leipzig, and his articles on Beethoven were especially well received, and highly regarded by the composer himself. It was in its pages that the "Kapellmeister Johannes Kreisler" character made his first appearance.

Hoffmann's breakthrough came in 1809, with the publication of Ritter Gluck, a story about a man who meets, or believes he has met, the composer Christoph Willibald Gluck (1714–87) more than twenty years after the latter's death. The theme alludes to the work of Jean Paul, who invented the term Doppelgänger the previous decade, and continued to exact a powerful influence over Hoffmann, becoming one of his earliest admirers. With this publication, Hoffmann began to use the pseudonym E. T. A. Hoffmann, telling people that the "A" stood for Amadeus, in homage to the composer Wolfgang Amadeus Mozart (1756–91). However, he continued to use Wilhelm in official documents throughout his life, and the initials E. T. W. also appear on his gravestone.

The next year, he was employed at the Bamberg Theatre as stagehand, decorator, and playwright, while also giving private music lessons.
He became so enamored of a young singing student, Julia Marc, that his feelings were obvious whenever they were together, and Julia's mother quickly found her a more suitable match. When Joseph Seconda offered Hoffmann a position as musical director for his opera company (then performing in Dresden), he accepted, leaving on 21 April 1813.

Dresden and Leipzig
Prussia had declared war against France on 16 March during the War of the Sixth Coalition, and their journey was fraught with difficulties. They arrived on the 25th, only to find that Seconda was in Leipzig; on the 26th, they sent a letter pleading for temporary funds. That same day Hoffmann was surprised to meet Hippel, whom he had not seen for nine years.

The situation deteriorated, and in early May Hoffmann tried in vain to find transport to Leipzig. On 8 May, the bridges were destroyed, and his family were marooned in the city. During the day, Hoffmann would roam, watching the fighting with curiosity. Finally, on 20 May, they left for Leipzig, only to be involved in an accident which killed one of the passengers in their coach and injured his wife.

They arrived on 23 May, and Hoffmann started work with Seconda's orchestra, which he found to be of the best quality. On 4 June an armistice began, which allowed the company to return to Dresden. But on 22 August, after the end of the armistice, the family was forced to relocate from their pleasant house in the suburbs into the town, and during the next few days the Battle of Dresden raged. The city was bombarded; many people were killed by bombs directly in front of him. After the main battle was over, he visited the gory battlefield. His account can be found in Vision auf dem Schlachtfeld bei Dresden. After a long period of continued disturbance, the town surrendered on 11 November, and on 9 December the company travelled to Leipzig.

On 25 February, Hoffmann quarrelled with Seconda, and the next day he was given notice of twelve weeks. When asked to accompany them on their journey to Dresden in April, he refused, and they left without him. But during July his friend Hippel visited, and soon he found himself being guided back into his old career as a jurist.

Berlin

At the end of September 1814, in the wake of Napoleon's defeat, Hoffmann returned to Berlin and succeeded in regaining a job at the Kammergericht, the chamber court. His opera Undine was performed by the Berlin Theatre. Its successful run came to an end only after a fire on the night of the 25th performance. Magazines clamoured for his contributions, and after a while his standards started to decline. Nevertheless, many masterpieces date from this time.

During the period from 1819, Hoffmann was involved with legal disputes, while fighting ill health. Alcohol abuse and syphilis eventually caused weakening of his limbs during 1821, and paralysis from the beginning of 1822. His last works were dictated to his wife or to a secretary.

Prince Metternich's anti-liberal programs began to put Hoffmann in situations that tested his conscience. Thousands of people were accused of treason for having certain political opinions,
and university professors were monitored during their lectures.

King Frederick William III of Prussia appointed an Immediate Commission for the investigation of political dissidence; when he found its observance of the rule of law too frustrating, he established a Ministerial Commission to interfere with its processes. The latter was greatly influenced by Commissioner Kamptz. During the trial of "Turnvater" Jahn, the founder of the gymnastics association movement, Hoffmann found himself annoying Kamptz, and became a political target. When Hoffmann caricatured Kamptz in a story (Meister Floh), Kamptz began legal proceedings. These ended when Hoffmann's illness was found to be life-threatening. The King asked for a reprimand only, but no action was ever taken. Eventually Meister Floh was published with the offending passages removed.

Hoffmann died of syphilis in Berlin on 25 June 1822 at the age of 46. His grave is preserved in the Protestant Friedhof III der Jerusalems- und Neuen Kirchengemeinde (Cemetery No. III of the congregations of Jerusalem Church and New Church) in Berlin-Kreuzberg, south of Hallesches Tor at the underground station Mehringdamm.

Works

Literary

Fantasiestücke in Callots Manier (collection of previously published stories, 1814)
"Ritter Gluck", "Kreisleriana", "Don Juan", "Nachricht von den neuesten Schicksalen des Hundes Berganza"
"Der Magnetiseur", "Der goldne Topf" (revised in 1819), "Die Abenteuer der Silvesternacht"
Die Elixiere des Teufels (1815)
Nachtstücke (1817)
"Der Sandmann", "Das Gelübde", "Ignaz Denner", "Die Jesuiterkirche in G."
"Das Majorat", "Das öde Haus", "Das Sanctus", "Das steinerne Herz"
Seltsame Leiden eines Theater-Direktors (1819)
Little Zaches (1819)
Die Serapionsbrüder (1819)
"Der Einsiedler Serapion", "Rat Krespel", "Die Fermate", "Der Dichter und der Komponist"
"Ein Fragment aus dem Leben dreier Freunde", "Der Artushof", "Die Bergwerke zu Falun", "Nußknacker und Mausekönig" (1816)
"Der Kampf der Sänger", "Eine Spukgeschichte", "Die Automate", "Doge und Dogaresse"
"Alte und neue Kirchenmusik", "Meister Martin der Küfner und seine Gesellen", "Das fremde Kind"
"Nachricht aus dem Leben eines bekannten Mannes", "Die Brautwahl", "Der unheimliche Gast"
"Das Fräulein von Scuderi", "Spielerglück" (1819), "Der Baron von B."
"Signor Formica", "Zacharias Werner", "Erscheinungen"
"Der Zusammenhang der Dinge", "Vampirismus", "Die ästhetische Teegesellschaft", "Die Königsbraut"
Prinzessin Brambilla (1820)
Lebensansichten des Katers Murr (1820)
"Die Irrungen" (1820)
"Die Geheimnisse" (1821)
"Die Doppeltgänger" (1821)
Meister Floh (1822)
"Des Vetters Eckfenster" (1822)
Letzte Erzählungen (1825)

Musical

Vocal music
Messa d-moll (1805)
Trois Canzonettes à 2 et à 3 voix (1807)
6 Canzoni per 4 voci alla capella (1808)
Miserere b-moll (1809)
In des Irtisch weiße Fluten (Kotzebue), Lied (1811)
Recitativo ed Aria „Prendi l'acciar ti rendo" (1812)
Tre Canzonette italiane (1812); 6 Duettini italiani (1812)
Nachtgesang, Türkische Musik, Jägerlied, Katzburschenlied für Männerchor (1819–21)

Works for stage
 Die Maske (libretto by Hoffmann), Singspiel (1799)
 Die lustigen Musikanten (libretto: Clemens Brentano), Singspiel (1804)
 Incidental music to Zacharias Werner's tragedy Das Kreuz an der Ostsee (1805)
 Liebe und Eifersucht (libretto by Hoffmann after Calderón, translated by August Wilhelm Schlegel) (1807)
 Arlequin, ballet (1808)
 Der Trank der Unsterblichkeit (libretto: Julius von Soden), romantic opera (1808)
 Wiedersehn! (libretto by Hoffmann), prologue (1809)
 Dirna (libretto: Julius von Soden), melodrama (1809)
 Incidental music to Julius von Soden's drama Julius Sabinus (1810)
 Saul, König von Israel (libretto: Joseph von Seyfried), melodrama (1811)
 Aurora (libretto: Franz von Holbein), heroic opera (1812)
 Undine (libretto: Friedrich de la Motte Fouqué), Zauberoper (1816)
 Der Liebhaber nach dem Tode (unfinished)

Instrumental
Rondo für Klavier (1794/95)
Ouvertura. Musica per la chiesa d-moll (1801)
Klaviersonaten: A-Dur, f-moll, F-Dur, f-moll, cis-moll (1805–1808)
Große Fantasie für Klavier (1806)
Sinfonie Es-Dur (1806)
Harfenquintett c-moll (1807)
Grand Trio E-Dur (1809)
Walzer zum Karolinentag (1812)
Teutschlands Triumph in der Schlacht bei Leipzig, (by "Arnulph Vollweiler", 1814; lost)
Serapions-Walzer (1818–1821)

Assessment

Hoffmann is one of the best-known representatives of German Romanticism, and a pioneer of the fantasy genre, with a taste for the macabre combined with realism that influenced such authors as Edgar Allan Poe (1809–1849), Nikolai Gogol<ref>Krys Svitlana, "Allusions to Hoffmann in Gogol's Ukrainian Horror Stories from the Dikan'ka Collection." Canadian Slavonic Papers: Special Issue, devoted to the 200th anniversary of Nikolai Gogols birth (1809–1852) 51.2-3 (June–September 2009): 243-266. (23 pages)</ref> (1809–1852), Charles Dickens (1812–1870), Charles Baudelaire (1821–1867), George MacDonald (1824–1905), Fyodor Dostoevsky (1821–1881), Vernon Lee (1856–1935), Franz Kafka (1883–1924) and Alfred Hitchcock (1899–1980). Hoffmann's story Das Fräulein von Scuderi is sometimes cited as the first detective story and a direct influence on Poe's "The Murders in the Rue Morgue"; Characters from it also appear in the opera Cardillac by Paul Hindemith.

The twentieth-century Russian literary theorist Mikhail Bakhtin characterised Hoffmann's works as Menippea, essentially satirical and self-parodying in form, thus including him in a tradition that includes Cervantes, Diderot and Voltaire.

Robert Schumann's piano suite Kreisleriana (1838) takes its title from one of Hoffmann's books (and according to Charles Rosen's The Romantic Generation, is possibly also inspired by "The Life and Opinions of Tomcat Murr", in which Kreisler appears). Jacques Offenbach's masterwork, the opera Les contes d'Hoffmann ("The Tales of Hoffmann", 1881), is based on the stories, principally "Der Sandmann" ("The Sandman", 1816), "Rat Krespel" ("Councillor Krespel", 1818), and "Das verlorene Spiegelbild" ("The Lost Reflection") from Die Abenteuer der Silvester-Nacht (The Adventures of New Year's Eve, 1814). Klein Zaches genannt Zinnober (Little Zaches called Cinnabar, 1819) inspired an aria as well as the operetta Le Roi Carotte, 1872). Pyotr Ilyich Tchaikovsky's ballet The Nutcracker (1892) is based on "The Nutcracker and the Mouse King", and the ballet Coppélia, with music by Delibes, is based on two eerie Hoffmann stories.

Hoffmann also influenced 19th-century musical opinion directly through his music criticism. His reviews of Beethoven's Symphony No. 5 in C minor, Op. 67 (1808) and other important works set new literary standards for writing about music, and encouraged later writers to consider music as "the most Romantic of all the arts." Hoffmann's reviews were first collected for modern readers by Friedrich Schnapp, ed., in E.T.A. Hoffmann: Schriften zur Musik; Nachlese (1963)  and have been made available in an English translation in E.T.A. Hoffmann's Writings on Music, Collected in a Single Volume (2004).

Hoffmann strove for artistic polymathy. He created far more in his works than mere political commentary achieved through satire. His masterpiece novel Lebensansichten des Katers Murr (The Life and Opinions of Tomcat Murr, 1819–1821) deals with such issues as the aesthetic status of true artistry and the modes of self-transcendence that accompany any genuine endeavour to create. Hoffmann's portrayal of the character Kreisler (a genius musician) is wittily counterpointed with the character of the tomcat Murr – a virtuoso illustration of artistic pretentiousness that many of Hoffmann's contemporaries found offensive and subversive of Romantic ideals.

Hoffmann's literature indicates the failings of many so-called artists to differentiate between the superficial and the authentic aspects of such Romantic ideals. The self-conscious effort to impress must, according to Hoffmann, be divorced from the self-aware effort to create. This essential duality in Kater Murr is conveyed structurally through a discursive 'splicing together' of two biographical narratives.

Science fiction
While disagreeing with E. F. Bleiler's claim that Hoffman was "one of the two or three greatest writers of fantasy", Algis Budrys of Galaxy Science Fiction said that he "did lay down the groundwork for some of our most enduring themes".

Historian Martin Willis argues that Hoffmann's impact on science fiction has been overlooked, saying "his work reveals a writer dynamically involved in the important scientific debates of the late eighteenth and early nineteenth centuries." Willis points out that Hoffmann's work is contemporary with Frankenstein (1818) and with "the heated debates and the relationship between the new empirical science and the older forms of natural philosophy that held sway throughout the eighteenth century." His "interest in the machine culture of his time is well represented in his short stories, of which the critically renowned The Sandman (1816) and Automata (1814) are the best examples. ...Hoffmann's work makes a considerable contribution to our understanding of the emergence of scientific knowledge in the early years of the nineteenth century and to the conflict between science and magic, centred mainly on the 'truths' available to the advocates of either practice. ...Hoffmann's balancing of mesmerism, mechanics, and magic reflects the difficulty in categorizing scientific knowledge in the early nineteenth century."

In popular culture
Robertson Davies invokes Hoffmann as a character (with the pet name of 'ETAH') trapped in Limbo, within his novel The Lyre of Orpheus (1988).
Alexandre Dumas, père translated The Nutcracker into French, which aided in making the tale popular and widespread.
The exotic and supernatural elements in the storyline of Ingmar Bergman's 1982 film Fanny and Alexander derive largely from the stories of Hoffmann.
Andrei Tarkovsky wrote a script titled Hoffmaniana in which the writer himself is the main protagonist. Due to Tarkovsky's premature death, the film was never made. 
 Freud gives an extensive psychoanalytic analysis of Hoffmann's "The Sandman" in his 1919 essay Das Unheimliche.
 Coppelius is a German classical metal band whose name is taken from a character in Hoffmann's "The Sandman". The band's 2010 album Zinnober includes a track titled "Klein Zaches".
 The Russian show Puppets was cancelled by government officials after an episode in which Vladimir Putin was portrayed as Hoffmann's Klein Zaches.
 Malifaux, a tabletop skirmish game, uses the names Hoffman and Coppelius from "The Sandman" for characters which reference each other as having an "unexplained connection".
 Dario Argento was planning to film an adaptation of "The Sandman" based on Hoffmann's short story and starring Iggy Pop but filming never commenced.

See alsoThe Tales of Hoffmann for Offenbach's opera.The Tales of Hoffmann for the filmGofmaniada'', a Russian puppet-animated feature film about Hoffmann and several of his stories.

References

External links

 
 
 
 
 Hoffmann's Life and Opinions of the Tom Cat Murr
 
 T. A. Hoffmann's Fairy Tales
 Compositions of E. T. A. Hoffmann in the digital collection of the Bamberg State Library
 E. T. A. Hoffmann entry in The Encyclopedia of Fantasy
 
 Extensively cross-indexed bibliography of Hoffmann's works

 
1776 births
1822 deaths
18th-century classical composers
18th-century German composers
18th-century male musicians
19th-century classical composers
19th-century German composers
Musicians from Königsberg
19th-century German male musicians
Composers for harp
Deaths from syphilis
German fantasy writers
German horror writers
German male classical composers
German male novelists
German male short story writers
German short story writers
German music critics
German Romantic composers
Mythopoeic writers
Writers from Königsberg
Romanticism
University of Königsberg alumni
Weird fiction writers
Writers of Gothic fiction
Neurological disease deaths in Germany
The following is a list of caricatures published by the British magazine Vanity Fair (1868–1914).

Caricatures 
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List of Vanity Fair (British magazine) caricatures (1895–1899)
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Categories

 
Caricature
United Kingdom-related lists
Lists of mass media in the United Kingdom
Lists of magazines published in the United Kingdom A caricature is a rendered image showing the features of its subject in a simplified or exaggerated way through sketching, pencil strokes, or through other artistic drawings (compare to: cartoon). Caricatures can be insulting or complimentary and can serve a political purpose or be drawn solely for entertainment.  Caricatures of politicians are commonly used in editorial cartoons, while caricatures of movie stars are often found in entertainment magazines.

In literature, a caricature is a distorted representation of a person in a way that exaggerates some characteristics and oversimplifies others.

Etymology 
The term is derived for the Italian caricare—to charge or load. An early definition occurs in the English doctor Thomas Browne's Christian Morals, published posthumously in 1716.

with the footnote:

Thus, the word "caricature" essentially means a "loaded portrait". Until the mid 19th century, it was commonly and mistakenly believed that the term shared the same root as the French 'charcuterie', likely owing to Parisian street artists using cured meats in their satirical portrayal of public figures.

History 

Some of the earliest caricatures are found in the works of Leonardo da Vinci, who actively sought people with deformities to use as models. The point was to offer an impression of the original which was more striking than a portrait.

Caricature took a road to its first successes in the closed aristocratic circles of France and Italy, where such portraits could be passed about for mutual enjoyment.

While the first book on caricature drawing to be published in England was Mary Darly's A Book of Caricaturas (c. 1762), the first known North American caricatures were drawn in 1759 during the battle for Quebec.  These caricatures were the work of Brig.-Gen. George Townshend whose caricatures of British General James Wolfe, depicted as "Deformed and crass and hideous" (Snell), were drawn to amuse fellow officers. Elsewhere, two great practitioners of the art of caricature in 18th-century Britain were Thomas Rowlandson (1756–1827) and James Gillray (1757–1815). Rowlandson was more of an artist, and his work took its inspiration mostly from the public at large.  Gillray was more concerned with the vicious visual satirisation of political life.  They were, however, great friends and caroused together in the pubs of London.

In a lecture titled The History and Art of Caricature, the British caricaturist Ted Harrison said that the caricaturist can choose to either mock or wound the subject with an effective caricature. Drawing caricatures can simply be a form of entertainment and amusement – in which case gentle mockery is in order – or the art can be employed to make a serious social or political point.  A caricaturist draws on (1) the natural characteristics of the subject (the big ears, long nose, etc.); (2) the acquired characteristics (stoop, scars, facial lines etc.); and (3) the vanities (choice of hair style, spectacles, clothes, expressions, and mannerisms).

Notable caricaturists 

 Sir Max Beerbohm (1872–1956, British), created and published caricatures of the famous men of his own time and earlier.  His style of single-figure caricatures in formalized groupings was established by 1896 and flourished until about 1930.  His published works include Caricatures of Twenty-five Gentlemen (1896), The Poets' Corner (1904), and Rossetti and His Circle (1922).  He published widely in fashionable magazines of the time, and his works were exhibited regularly in London at the Carfax Gallery (1901–18) and Leicester Galleries (1911–57).
 George Cruikshank (1792–1878, British) created political prints that attacked the royal family and leading politicians. He went on to create social caricatures of British life for popular publications such as The Comic Almanack (1835–1853) and Omnibus (1842). Cruikshanks' New Union Club of 1819 is notable in the context of slavery. He also earned fame as a book illustrator for Charles Dickens and many other authors.
 Honoré Daumier (1808–1879, French) created over 4,000 lithographs, most of them caricatures on political, social, and everyday themes.  They were published in the daily French newspapers (Le Charivari, La Caricature etc.)
 Mort Drucker (1929-2020, American) joined Mad in 1957 and became well known for his parodies of movie satires. He combined a comic strip style with caricature likenesses of film actors for Mad, and he also contributed covers to Time. He has been recognized for his work with the National Cartoonists Society Special Features Award for 1985, 1986, 1987, and 1988, and their Reuben Award for 1987.
 Alex Gard (1900–1948, Russian) created more than 700 caricatures of show business celebrities and other notables for the walls of Sardi's Restaurant in the theater district of New York City: the first artist to do so.  Today the images are part of the Billy Rose Theatre Collection of The New York Public Library for the Performing Arts.
 Al Hirschfeld (1903–2003, American) was best known for his simple black and white renditions of celebrities and Broadway stars which used flowing contour lines over heavy rendering.  He was also known for depicting a variety of other famous people, from politicians, musicians, singers and even television stars like the cast of Star Trek: The Next Generation.  He was even commissioned by the United States Postal Service to provide art for U.S. stamps.  Permanent collections of Hirschfeld's work appear at the Metropolitan Museum of Art and the Museum of Modern Art in New York, and he boasts a star on the St. Louis Walk of Fame.
 Sebastian Krüger (1963, German) is known for his grotesque, yet hyper-realistic distortions of the facial features of celebrities, which he renders primarily in acrylic paint, and for which he has won praise from The Times.  He is well known for his lifelike depictions of The Rolling Stones, in particular, Keith Richards.  Krüger has published three collections of his works, and has a yearly art calendar from Morpheus International.  Krüger's art can be seen frequently in Playboy magazine and has also been featured in the likes of Stern, L’Espresso, Penthouse, and Der Spiegel and USA Today.  He has recently been working on select motion picture projects.
 David Levine (1926–2009, American) is noted for his caricatures in The New York Review of Books and Playboy magazine.  His first cartoons appeared in 1963.  Since then he has drawn hundreds of pen-and-ink caricatures of famous writers and politicians for the newspaper.
 Sam Viviano (1953, American) has done much work for corporations and in advertising, having contributed to Rolling Stone, Family Weekly, Reader's Digest, Consumer Reports, and Mad, of which he is currently the art director.  Viviano's caricatures are known for their wide jaws, which Viviano has explained is a result of his incorporation of side views as well as front views into his distortions of the human face.  He has also developed a reputation for his ability to do crowd scenes.  Explaining his twice-yearly covers for Institutional Investor magazine, Viviano has said that his upper limit is sixty caricatures in nine days.

Computerization 

There have been some efforts to produce caricatures automatically or semi-automatically using computer graphics techniques. For example, a system proposed by Akleman et al. provides warping tools specifically designed toward rapidly producing caricatures.  There are very few software programs designed specifically for automatically creating caricatures.

Computer graphic system requires quite different skill sets to design a caricature as compared to the caricatures created on paper.  Thus, using a computer in the digital production of caricatures requires advanced knowledge of the program's functionality.  Rather than being a simpler method of caricature creation, it can be a more complex method of creating images that feature finer coloring textures than can be created using more traditional methods.

A milestone in formally defining caricature was Susan Brennan's master's thesis in 1982.  In her system, caricature was formalized as the process of exaggerating differences from an average face.  For example, if Prince Charles has more prominent ears than the average person, in his caricature the ears will be much larger than normal.  Brennan's system implemented this idea in a partially automated fashion as follows:  the operator was required to input a frontal drawing of the desired person having a standardized topology (the number and ordering of lines for every face).  She obtained a corresponding drawing of an average male face.  Then, the particular face was caricatured simply by subtracting from the particular face the corresponding point on the mean face (the origin being placed in the middle of the face), scaling this difference by a factor larger than one, and adding the scaled difference back onto the mean face.

Though Brennan's formalization was introduced in the 1980s, it remains relevant in recent work.  Mo et al. refined the idea by noting that the population variance of the feature should be taken into account.  For example, the distance between the eyes varies less than other features, such as the size of the nose.  Thus even a small variation in the eye spacing is unusual and should be exaggerated, whereas a correspondingly small change in the nose size relative to the mean would not be unusual enough to be worthy of exaggeration.

On the other hand, Liang et al. argue that caricature varies depending on the artist and cannot be captured in a single definition.  Their system uses machine learning techniques to automatically learn and mimic the style of a particular caricature artist, given training data in the form of a number of face photographs and the corresponding caricatures by that artist.  The results produced by computer graphic systems are arguably not yet of the same quality as those produced by human artists.  For example, most systems are restricted to exactly frontal poses, whereas many or even most manually produced caricatures (and face portraits in general) choose an off-center "three-quarters" view.  Brennan's caricature drawings were frontal-pose line drawings.  More recent systems can produce caricatures in a variety of styles, including direct geometric distortion of photographs.

Caricature advantage 
Brennan's caricature generator was used to test recognition of caricatures. Rhodes, Brennan and Carey demonstrated that caricatures were recognised more accurately than the original images. They used line drawn images but Benson and Perrett showed similar effects with photographic quality images. Explanations for this advantage have been based on both norm-based theories of face recognition and exemplar-based theories of face recognition.

Modern use 

Beside the political and public-figure satire, most contemporary caricatures are used as gifts or souvenirs, often drawn by street vendors. For a small fee, a caricature can be drawn specifically (and quickly) for a patron. These are popular at street fairs, carnivals, and even weddings, often with humorous results.

Caricature artists are also popular attractions at many places frequented by tourists, especially oceanfront boardwalks, where vacationers can have a humorous caricature sketched in a few minutes for a small fee. Caricature artists can sometimes be hired for parties, where they will draw caricatures of the guests for their entertainment.

Museums
There are numerous museums dedicated to caricature throughout the world, including the Museo de la Caricatura of Mexico City, the Muzeum Karykatury in Warsaw, the Caricatura Museum Frankfurt, the Wilhelm Busch Museum in Hanover and the Cartoonmuseum in Basel. The first museum of caricature in the Arab world was opened in March, 2009, at Fayoum, Egypt.

See also 
 List of caricaturists
 Cartoon
 Controversial newspaper caricatures
Darktown Comics
 Jyllands-Posten Muhammad cartoons controversy
 Persona
 Physiognomy
 Satire
 Zoomorphism
 Arab Cartoon Award
 Meme

References

External links 

 International Society of Caricature Artists (ISCA) Official site of the International Society of Caricature Artists – a non-profit association devoted to the art of caricature (Formerly the National Caricaturist Network (NCN))
Daumier Drawings, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which focuses on this great caricaturist