Maurits Cornelis Escher ( /ˈɛʃər/, Dutch: [ˈmʌurɪts kɔrˈneːlɪs ˈɛʃər] ( listen);^[1] 17 June 1898 – 27 March 1972), usually referred to as M. C. Escher, was a Dutch graphic artist. He is known for his often mathematically inspired woodcuts, lithographs, and mezzotints. These feature impossible constructions, explorations of infinity, architecture, and tessellations.

Early life[link]

Maurits Cornelis, nicknamed "Mauk",^[2] was born in Leeuwarden, The Netherlands, in a house that forms part of the Princessehof Ceramics Museum today. He was the youngest son of civil engineer George Arnold Escher and his second wife, Sara Gleichman. In 1903, the family moved to Arnhem, where he attended primary school and secondary school until 1918.

He was a sickly child, and was placed in a special school at the age of seven and failed the second grade.^[3] Though he excelled at drawing, his grades were generally poor. He also took carpentry and piano lessons until he was thirteen years old. In 1919, Escher attended the Haarlem School of Architecture and Decorative Arts. He briefly studied architecture, but he failed a number of subjects (partly due to a persistent skin infection) and switched to decorative arts.^[3] Here he studied under Samuel Jessurun de Mesquita, with whom he would remain friends for years. In 1922 Escher left the school, having gained experience in drawing and making woodcuts.

Later life[link]

In 1922, an important year of his life, Escher traveled through Italy (Florence, San Gimignano, Volterra, Siena, Ravello) and Spain (Madrid, Toledo, Granada). He was impressed by the Italian countryside and by the Alhambra, a fourteenth-century Moorish castle in Granada, Spain. The intricate decorative designs at Alhambra, which were based on mathematical formulas and feature interlocking repetitive patterns sculpted into the stone walls and ceilings, were a powerful influence on Escher's works.^[4] He came back to Italy regularly in the following years. In Italy he met Jetta Umiker, whom he married in 1924. The young couple settled down in Rome where their son, Giorgio Arnaldo Escher, named after his grandfather, was born. "In 1935, the political climate in Italy (under Mussolini) became totally unacceptable to him. Escher had no interest in politics, finding it impossible to involve himself with any ideals other than the expressions of his own concepts through his own particular medium, but he was averse to fanaticism and hypocrisy. When his eldest son, George, was forced, at the age of nine, to wear a Ballila Facist Youth uniform in school, the family decided to leave Italy. The family moved to Château-d'Œx, Switzerland, where they remained for two years. ^[5]

Escher, who had been very fond of and inspired by the landscapes in Italy, was decidedly unhappy in Switzerland, and in 1937, the family moved again, to Uccle, a suburb of Brussels, Belgium. World War II forced them to move in January 1941, this time to Baarn, the Netherlands, where Escher lived until 1970. Most of Escher's better-known pictures date from this period. The sometimes cloudy, cold, wet weather of the Netherlands allowed him to focus intently on his works, and only during 1962, when he underwent surgery, was there a time when no new images were created.

Escher moved to the Rosa Spier house in Laren in 1970, a retirement home for artists where he had his own studio. He died at the home on 27 March 1972, at age 73.

Works[link]

Escher's first print of an impossible reality was Still Life and Street, 1937. His artistic expression was created from images in his mind, rather than directly from observations and travels to other countries. Well known examples of his work also include Drawing Hands, a work in which two hands are shown, each drawing the other; Sky and Water, in which light plays on shadow to morph the water background behind fish figures into bird figures on a sky background; and Ascending and Descending, in which lines of people ascend and descend stairs in an infinite loop, on a construction which is impossible to build and possible to draw only by taking advantage of quirks of perception and perspective.

He worked primarily in the media of lithographs and woodcuts, though the few mezzotints he made are considered to be masterpieces of the technique. In his graphic art, he portrayed mathematical relationships among shapes, figures and space. Additionally, he explored interlocking figures using black and white to enhance different dimensions. Integrated into his prints were mirror images of cones, spheres, cubes, rings and spirals.

In addition to sketching landscape and nature in his early years, he also sketched insects, which frequently appeared in his later work. His first artistic work, completed in 1922, featured eight human heads divided in different planes. Later around 1924, he lost interest in "regular division" of planes, and turned to sketching landscapes in Italy with irregular perspectives that are impossible in natural form.

Although Escher did not have mathematical training—his understanding of mathematics was largely visual and intuitive—Escher's work had a strong mathematical component, and more than a few of the worlds which he drew are built around impossible objects such as the Necker cube and the Penrose triangle. Many of Escher's works employed repeated tilings called tessellations. Escher's artwork is especially well liked by mathematicians and scientists, who enjoy his use of polyhedra and geometric distortions. For example, in Gravity, multi-colored turtles poke their heads out of a stellated dodecahedron.

The mathematical influence in his work emerged around 1936, when he was journeying the Mediterranean with the Adria Shipping Company. Specifically, he became interested in order and symmetry. Escher described his journey through the Mediterranean as "the richest source of inspiration I have ever tapped."

After his journey to the Alhambra, Escher tried to improve upon the art works of the Moors using geometric grids as the basis for his sketches, which he then overlaid with additional designs, mainly animals such as birds and lions.

His first study of mathematics, which would later lead to its incorporation into his art works, began with George Pólya's academic paper on plane symmetry groups sent to him by his brother Berend. This paper inspired him to learn the concept of the 17 wallpaper groups (plane symmetry groups). Utilizing this mathematical concept, Escher created periodic tilings with 43 colored drawings of different types of symmetry. From this point on he developed a mathematical approach to expressions of symmetry in his art works. Starting in 1937, he created woodcuts using the concept of the 17 plane symmetry groups.

In 1941, Escher summarized his findings in a notebook, which he labeled Regelmatige vlakverdeling in asymmetrische congruente veelhoeken ("Regular division of the plane with asymmetric congruent polygons").^[6] His intention in writing this was to aid himself in integrating mathematics into art. Escher is considered a research mathematician of his time because of his documentation with this paper. In it, he studied color based division, and developed a system of categorizing combinations of shape, color and symmetrical properties.

Around 1956, Escher explored the concept of representing infinity on a two-dimensional plane. Discussions with Canadian mathematician H.S.M. Coxeter inspired Escher's interest in hyperbolic tessellations, which are regular tilings of the hyperbolic plane. Escher's wood engravings Circle Limit I–IV demonstrate this concept. In 1959, Coxeter published his finding that these works were extraordinarily accurate: "Escher got it absolutely right to the millimeter."

Escher was awarded the Knighthood of the Order of Orange Nassau in 1955. Subsequently he regularly designed art for dignitaries around the world.

In 1958, he published a book entitled Regular Division of the Plane, with reproductions of a series of woodcuts based on tessellations of the plane, in which he described the systematic buildup of mathematical designs in his artworks. He emphasized, "Mathematicians have opened the gate leading to an extensive domain."

Overall, his early love of Roman and Italian landscapes and of nature led to his interest in the concept of regular division of a plane, which he applied in over 150 colored works. Other mathematical principles evidenced in his works include the superposition of a hyperbolic plane on a fixed 2-dimensional plane, and the incorporation of three-dimensional objects such as spheres, columns and cubes into his works. For example, in a print called "Reptiles", he combined two and three-dimensional images. In one of his papers, Escher emphasized the importance of dimensionality and described himself as "irritated" by flat shapes: "I make them come out of the plane."

Sculpture of the small stellated dodecahedron that appears in Escher's Gravitation. It can be found in front of the "Mesa+" building on the Campus of the University of Twente.

Escher also studied the mathematical concepts of topology. He learned additional concepts in mathematics from the British mathematician Roger Penrose. From this knowledge he created Waterfall and Up and Down, featuring irregular perspectives similar to the concept of the Möbius strip.

Escher printed Metamorphosis I in 1937, which was a beginning part of a series of designs that told a story through the use of pictures. These works demonstrated a culmination of Escher's skills to incorporate mathematics into art. In Metamorphosis I, he transformed convex polygons into regular patterns in a plane to form a human motif. This effect symbolizes his change of interest from landscape and nature to regular division of a plane.

One of his most notable works is the piece Metamorphosis III, which is wide enough to cover all the walls in a room, and then loop back onto itself.

After 1953, Escher became a lecturer at many organizations. A planned series of lectures in North America in 1962 was cancelled due to an illness, but the illustrations and text for the lectures, written out in full by Escher, were later published as part of the book Escher on Escher. In July 1969 he finished his last work, a woodcut called Snakes, in which snakes wind through a pattern of linked rings which fade to infinity toward both the center and the edge of a circle.

Legacy[link]

The Escher Museum in The Hague

The special way of thinking and the rich graphic work of M.C. Escher has had a continuous influence in science and art, as well as being referenced in popular culture. Ownership of the Escher intellectual property and of his unique art works have been separated from each other.

In 1969, Escher's business advisor, Jan W. Vermeulen, author of a biography in Dutch on the artist, established the M.C. Escher Stichting (M.C. Escher Foundation), and transferred into this entity virtually all of Escher's unique work as well as hundreds of his original prints. These works were lent by the Foundation to the Hague Museum. Upon Escher's death, his three sons dissolved the Foundation, and they became partners in the ownership of the art works. In 1980, this holding was sold to an American art dealer and the Hague Museum. The Museum obtained all of the documentation and the smaller portion of the art works.

The copyrights remained the possession of the three sons – who later sold them to Cordon Art, a Dutch company. Control of the copyrights was subsequently transferred to The M.C. Escher Company B.V. of Baarn, Netherlands, which licenses use of the copyrights on all of Escher's art and on his spoken and written text, and also controls the trademarks. Filing of the trademark "M.C. Escher" in the United States was opposed, but the Dutch company prevailed in the courts on the grounds that an artist or his heirs have a right to trademark his name.

A related entity, the M.C. Escher Foundation of Baarn, promotes Escher's work by organizing exhibitions, publishing books and producing films about his life and work.

The primary institutional collections of original works by M.C. Escher are the Escher Museum, a subsidiary of the Haags Gemeentemuseum in The Hague; the National Gallery of Art (Washington, DC); the National Gallery of Canada (Ottawa); the Israel Museum (Jerusalem); Huis ten Bosch (Nagasaki, Japan); and the Boston Public Library.

Gödel, Escher, Bach by Douglas Hofstadter,^[7] published in 1979, discusses the ideas of self-reference and strange loops, drawing on a wide range of artistic and scientific work, including the art of M. C. Escher and the music of J. S. Bach, to illustrate ideas behind Gödel's incompleteness theorems.

Selected works[link]

Art portal

See also[link]

• Asteroid 4444 Escher was named in Escher's honor in 1985.

References[link]

Further reading[link]

External links[link]

Wikiquote has a collection of quotations related to: M. C. Escher

Wikimedia Commons has media related to: M. C. Escher

• "M.C. Escher official website". http://www.mcescher.com/. 
• "Math and the Art of M.C. Escher". USA: SLU. http://mathcs.slu.edu/escher. 
• Artful Mathematics: The Heritage of M. C. Escher. USA: AMS. http://www.ams.org/notices/200304/fea-escher.pdf. 
• Escherization problem and its solution. CA: University of Waterloo. http://www.cgl.uwaterloo.ca/~csk/projects/escherization/. 
• "Escher for Real". IL: Technion. http://www.cs.technion.ac.il/~gershon/EscherForReal/.  — physical replicas of some of Escher's "impossible" designs
• "M.C. Escher: Life and Work". USA: NGA. http://www.nga.gov/collection/gallery/ggescher/ggescher-main1.html. 
• "US copy right proctection for UK artists". UK. http://www.artquest.org.uk/articles/view/us-copyright-protection-for-uk-artists1.  Copyright issue regarding Escher from the Artquest Artlaw archive.
• Schattschneider, Doris (June/July 2010). "The Mathematical Side of M. C. Escher" (PDF). Notices of the American Mathematical Society (USA) 57 (6): 706–18. http://www.ams.org/notices/201006/rtx100600706p.pdf. Retrieved 2010-07-09. 
• Gallery of tessellations by M.C. Escher

Don Juan in Mozart's opera Don Giovanni, a painting by Max Slevogt

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Don Juan (Spanish, or "Don Giovanni" in Italian) is a legendary, fictional libertine whose story has been told many times by many authors. El burlador de Sevilla y convidado de piedra (The Trickster of Seville and the Stone Guest) by Tirso de Molina is a play set in the fourteenth century that was published in Spain around 1630. Evidence suggests it is the first written version of the Don Juan legend. Among the best known works about this character today are Molière's play Dom Juan ou le Festin de pierre (1665), Byron's epic poem Don Juan (1821), José de Espronceda's poem El estudiante de Salamanca (1840) and José Zorrilla's play Don Juan Tenorio (1844). Along with Zorrilla's work (still performed every year on November 2nd throughout the Spanish-speaking world), arguably the best known version is Don Giovanni, an opera composed by Wolfgang Amadeus Mozart with libretto by Lorenzo da Ponte, first performed in Prague in 1787 (with Giacomo Casanova probably in the audience) and itself the source of inspiration for works by E. T. A. Hoffmann, Alexander Pushkin, Søren Kierkegaard, George Bernard Shaw and Albert Camus.

Don Juan is used synonymously for "womanizer", especially in Spanish slang, and the term Don Juanism is sometimes used as a synonym for satyriasis.

Don Juan legend[link]

Although the various iterations of the Don Juan myth show some variation, the basic storyline remains the same. Starting with Tirso's work, Don Juan is portrayed as a wealthy, seductive libertine who devotes his life to seducing women, taking great pride in his ability to seduce women of all ages and stations in life. His life is also punctuated with violence and gambling, and in many interpretations (Tirso, Espronceda, Zorrilla), he kills Don Gonzalo, the father of a girl he has seduced, Doña Ines. This leads to the famous last supper scene, whereby Don Juan invites the dead father to dinner. The ending depends on which version of the legend one is reading. Tirso's original play was meant as religious parable against Don Juan's sinful ways, and ends with his death, having been denied salvation by God. Other authors and playwrights would interpret the ending in their own fashion. Espronceda's Don Felix walks into hell and to his death of his own volition, whereas Zorrilla's Don Juan asks for, and receives, a divine pardon. The figure of Don Juan has inspired many modern interpretations.

Pronunciation[link]

In Castilian Spanish, Don Juan is pronounced [doŋˈxwan]. The usual English pronunciation is /ˌdɒnˈwɑːn/, with two syllables and a silent "J". However, in Byron's epic poem it rhymes with ruin and true one, indicating that it was intended to have the trisyllabic spelling pronunciation /ˌdɒnˈdʒuːən/. This would have been characteristic of his English literary predecessors who often deliberately imposed partisan English pronunciations on Spanish names, such as Don Quixote /ˌdɒnˈkwɪksət/.

Chronology of works derived from the story of Don Juan[link]

This section may contain excessive, poor or irrelevant examples. You can improve the article by adding more descriptive text and removing less pertinent examples. See Wikipedia's guide to writing better articles for further suggestions. (May 2010)

Seventeenth century[link]

• 1630: Tirso de Molina's play El burlador de Sevilla y convidado de piedra
• 1643: Paolo Zehentner's play Promontorium Malae Spei
• 1650: Giacinto Andrea Cicognini's play Il convitato di pietra
• 1658: Dorimon (Nicolas Drouin's) Le festin de pierre, ou le fils criminel
• 1659: Jean Deschamps, Sieur de Villiers's play Le Festin de Pierre ou le Fils criminel
• 1665: Molière's comedy Dom Juan ou le Festin de pierre
• 1669: Rosimon's Festin de pierre, ou l’athée foudroyé
• 1676: Thomas Shadwell's play The Libertine
• 17th century: L'ateista fulminato, Italian play by unknown author

Eighteenth century[link]

• 1714?: Antonio de Zamora's play No hay plazo que no se cumpla ni deuda que no se pague o convidado de piedra^[1]
• 1730: Antonio Denzio's opera La pravità castigata, with music mainly by Antonio Caldara
• 1736: Carlo Goldoni's play Don Giovanni Tenorio ossia Il dissoluto
• 1761: Christoph Willibald Gluck's and Gasparo Angiolini's ballet Don Juan
• 1776: Vincenzo Righini's opera Il convitato di pietra
• 1787: Giovanni Bertati's opera Don Giovanni, music by Giuseppe Gazzaniga
• 1787: Lorenzo da Ponte's opera Don Giovanni, music by Mozart

Nineteenth century[link]

• 1813: E.T.A. Hoffmann's novella Don Juan (later collected in Fantasiestücke in Callots Manier)
• 1821: Byron's epic poem Don Juan
• 1829: Christian Dietrich Grabbe's play Don Juan und Faust
• 1830: Pushkin's play Каменный гость (Kamenny Gost', The Stone Guest) set as an opera in 1872
• 1831: Alexandre Dumas' play Don Juan de Maraña
• 1831: Balzac's short story L'Élixir de longue vie (The Elixir of Life)
• 1834: Prosper Mérimée's novella Les âmes du Purgatoire
• 1840: José de Espronceda's El estudiante de Salamanca
• 1841: Franz Liszt's Réminiscences de Don Juan on themes from the Mozart opera
• 1843: Søren Kierkegaard's Either/or in which he discusses Mozart's musical interpretation of Don Giovanni, and includes another text which develops a similar character called Johannes ("Diary of a seducer").
• 1844: Nikolaus Lenau's play Don Juan
• 1844: José Zorrilla's play Don Juan Tenorio
• 1857: Charles Baudelaire's poem Don Juan aux enfers (Don Juan in Hell) in Les Fleurs du Mal
• 1862: Aleksey Konstantinovich Tolstoy's verse drama Don Juan
• 1872: Alexander Dargomyzhsky's opera The Stone Guest after Puskin
• 1874: Guerra Junqueiro's poem A morte de D. João
• 1878: The Finding of Don Juan by Haidee, painting by Ford Madox Brown
• 1883: Paul Heyse's "Don Juans Ende"
• 1888: Richard Strauss' symphonic poem Don Juan
• 1889: Vernon Lee's short story 'The Virgin of the Seven Daggers', in which Don Juan raises a Moorish princess from the grave in order to seduce her

Twentieth century[link]

• 1903: George Bernard Shaw's play Man and Superman; the third act's dream sequence is often played by itself as Don Juan in Hell
• 1902–1905: Ramón del Valle-Inclán's Las sonatas
• 1906 : Ruperto Chapí's opera Margarita la tornera, based on José Zorrilla's dramatic poem. This features a seducer of women known as Don Juan Alarcon.
• 1907: Guillaume Apollinaire's novel Les exploits d'un jeune Don Juan
• 1910: Gaston Leroux's novel Phantom of the Opera, which includes an opera called Don Juan Triumphant.
• 1910–1912: Aleksandr Blok's The Commander's Footsteps (Шаги командора).
• 1912: Lesya Ukrainka's Stone Host (Кам'яний господар), a dramatic poem.
• 1913: Jacinto Grau's play Don Juan de Carillana; also, the play El burlador que no se burla (1927) and the essay Don Juan en el tiempo y en el espacio (1954)
• 1921: Edmond Rostand's play La dernière nuit de Don Juan
• 1922: Azorín's Don Juan
• 1926: Ramón Pérez de Ayala's novel and play Tigre Juan
• 1926: Don Juan, starring John Barrymore, silent film with Vitaphone soundtrack.
•  ?: Serafín and Joaquín Álvarez Quintero's play Don Juan
• 1928: Don Juan in der Mädchenschule, directed by Reinhold Schünzel, starring Ernst Behmer, Adolphe Engers and Carl Geppert
• 1932: short story Don Juan's Confession in Karel Čapek's Apocryphal Tales (Kniha apokryfů)^[2]
• 1934: Miguel de Unamuno's Don Juan
• 1934: The Private Life of Don Juan, Douglas Fairbanks, Sr.'s last film
• 1934–1949: André Obey: Don Juan
• 1936: Ödön von Horváth's Don Juan kommt aus dem Krieg (Don Juan comes back from the war)
• 1938: Sylvia Townsend Warner's novel "After the Death of Don Juan"
• 1940: Le Mythe de Sisyphe: Albert Camus. Published by Librarire Gallimard (1942) and by Alfred A. Knopf (1955, 1983) and First Vintage International Editions (1991) in English as The Myth of Sisyphus and other essays. In Camus' anti-suicide treatise, Don Juan is one of three 'Absurd Men', 'heroes' who overcome life with their attitude.
• 1942: Paul Goodman's novel Don Juan or, The Continuum of the Libido, edited by Taylor Stoehr, 1979.
• 1942: Franz Zeise's novel Don Juan Tenorio
• 1944: Josef Toman Don Juan
• 1946: Suzanne Lilar, play "Le Burlador", an original reinterpretation of the myth of Don Juan from the female perspective that revealed a profound capacity for psychological analysis.
• 1949: Adventures of Don Juan, film starring Errol Flynn
• 1950: Don Juan, film directed by José Luis Sáenz de Heredia
• 1952: "A Story of Don Juan", a short ghost story by V.S. Pritchett
• 1953: Max Frisch's Don Juan oder die Liebe zur Geometrie; also Nachträgliches zu Don Juan
• 1954: Ronald Frederick Duncan's play Don Juan
• 1955: Ingmar Bergman's play Don Juan
• 1955: Desi Arnaz as Ricky Ricardo as Don Juan in several episodes (Season 4, Episode #6, #9, #10, #17, #21) of I Love Lucy, the television series.
• 1956: Buddy Holly's song Modern Don Juan
• 1957: Georges Bataille's novel "Blue of Noon", an adaptation of the Don Juan story set in 1930s fascist Europe
• 1958: Henry de Montherlant's play Don Juan
• 1959: Roger Vailland's play Monsieur Jean
• 1960: Ingmar Bergman film Djävulens öga(The Devil's Eye)
• 1963: Gonzalo Torrente Ballester's novel Don Juan
• 1967: In the Star Trek Episode from the first season Shore_Leave_(Star_Trek) Yeoman Tonia Barrows is accosted by Don Juan.
• 1969: Jan Švankmajer's Don Šajn (Don Juan); a short retelling of the Don Juan legend featuring live-action, stop-motion animation, and marionettes.
• 1969/1970: Donna Juanita, a song performed by Swedish artist Monica Zetterlund, part of the revue and TV-show "Spader, Madame!" by comedians Hasseåtage, based on a musical piece by Franz Schubert (Sixth Symphony, Second Movement) - the theme of the lyrics is to show the gender inequality in the fact that Don Juan's philandering behaviour would never have been accepted in a woman
• 1970: The Stoned Guest, a half-act opera by P. D. Q. Bach
• 1973: Don Juan ou Si Don Juan était une femme..., a film starring Brigitte Bardot
• 1974: Derek Walcott's play, The Joker of Seville
• 1975: Lars Gyllensten's novel I skuggan av Don Juan (In the shadow of Don Juan)
• 1980: New York City no-wave artists Mars and DNA recorded a collaborative opera based on Don Giovanni entitled John Gavanti
• 1983: Carlos Morton's play, Johnny Tenorio
• 1987: In the Andrew Lloyd Webber musical The Phantom Of the Opera, the Phantom both writes and stars in a fictional opera named Don Juan Triumphant.
• 1987: Post-minimalist composer Elodie Lauten wrote an opera based on a feminist variation of the legend entitled "The Death of Don Juan"
• 1988: The Pet Shop Boys song "Don Juan", which used the story as a metaphor for the seduction of the Balkans by Nazism during the 1930s
• 1991: Georges Pichard's Exploits d'un Don Juan, comic from Apollinaire's novel
• 1995: Don Juan DeMarco, film starring Johnny Depp in the role of Don Juan, and also starring Marlon Brando
• 1997: David Ives' comedy Don Juan in Chicago

Twenty-first century[link]

• 2003: Félix Gray's musical comedy Don Juan
• 2004: Peter Handke's novel Don Juan (erzählt von ihm selbst) ("Don Juan (Told by Himself)")
• 2005: José Saramago's play Don Giovanni ou O Dissoluto Absolvido (Don Giovanni or The Dissolute Acquitted).
• 2005: Jim Jarmusch's film Broken Flowers.
• 2006: Don Juan in Soho, a play by Patrick Marber
• 2009: Kasper Bech Holten's film Juan

Both the Flynn and Fairbanks versions turn Don Juan into a likeable rogue, rather than the heartless seducer that he is usually presented as being. The Flynn movie even has him successfully foiling a treasonous plot in the Spanish royal court. Shaw's play turns him into a philosophical character who enjoys contemplating the purpose of life.

References[link]

1. ^ http://es.wikipedia.org/wiki/Antonio_de_Zamora
2. ^ Apocryphal Tales, Karel Čapek.

Further reading[link]

• Macchia, Giovanni (1995) [1991] (in Italian). Vita avventure e morte di Don Giovanni. Milano: Adelphi. ISBN 88-459-0826-7. 
• Said Armesto, Víctor (1968) [1946] (in Spanish). La leyenda de Don Juan. Madrid: Espasa-Calpe. 
• Guillaume Apollinaire: Don Juan (1914).
• Michel de Ghelderode: Don Juan (1928).

External links[link]

Wikimedia Commons has media related to: Don Juan

• Don Juan Archiv Wien (in German)
• Text of Molière's Dom Juan' (in French)
• Encyclopædia Britannica article about Don Juan
• Armand E. Singer: A Bibliography of the Don Juan Theme 1954-2003
• "Juan!...Juaaan!!!" Sample of an alternative Don Juan story
• "Flowers of Evil", Charles Baudelaire