Copyright by Laura Mareike Sager 2006 - The University of Texas at ...

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…Er [i.e. Goya] hatte Abgeschüttelt jene strenge Lehre von der Linie, die so Lange ihn beengt, er war jetzt Frei, er war jetzt glücklich, und in Seiner Romeria wurde Alles Licht und Farbe. Vorn das Volk, der Fluß, die weiße, Breite Stadt Madrid dahinter Wurden eines; Luft und Stadt und Menschen woben ineinander Farbig, locker, leicht und hell und Glücklich (Goya 163). 164 In these verses, the narrator emphasizes Goya’s achievement, initiated in this novel with the portrait of Doña Lucia Bermúdez, of letting go of the neo- classicist focus on the line, and instead focusing on color. A non-commissioned work created only because of the artist’s desire to paint it and to take up the creative challenge it poses, the Romería in this novel is a result of Goya’s personal joy (due to his initially happy love affair with the Duchess Cayetana de Alba), transferred to artistic success. This ekphrasis, then, underscores the personal origin and meaning of Goya’s artistic achievement as well as its larger significance for his aesthetics. Ekphrasis is thus a fundamental means of conveying the novel’s main theme. The use of ekphrasis in Wolf’s film, by contrast, points to the way in which the film shifts the novel’s focus on personal artistic growth in conjunction with socio-political awareness to one on Goya’s social commitment in the public 164 This part has been cut in the English version. My own literal, un-poetic translation of this passage follows: “He had / Abandoned that strict doctrine of the line, that had / Constricted him for so long, he was now / Free, was happy, and in / his Pilgrimage everything / Became light and color. / In the foreground the people, the river, the white / Wide city Madrid behind / All became one; air and city and / People merged into each other / Colorful, weightless, light and / Happy.” 132
sphere. Unlike the novel, the interpretive ekphrases are all in direct speech. Foregoing all internal aesthetic reflections of the protagonist, the film limits its interpretive ekphrases to comments by other people, such as Goya’s aide Agustin Esteve, his Enlightenment friends Jovellanos, Moratín and Quintana, King Carlos and Queen Maria Luisa, and the Inquisitor, Reynoso. A striking example is found in the film when Agustin Esteve articulates the innovative artistic significance of Goya’s pictorial expression in his portrait of Doña Lucía Bermúdez; phrases which in the novel represent Goya’s own reflections on that painting in response to the reaction of his friend don Miguel. 165 Moreover, in the film Goya falls asleep over Esteve’s exultant verbalization of Goya’s achievement: “Die klaren Linien der alten Meister sind gut. Und klare Dinge lassen sich damit klar wiedergeben. Aber die Menschen sind nicht klar. Das Bösartige, das Gefährliche, das Hexenhafte, das lässt sich mit den alten Mitteln nicht sagen” (“The pure lines of the old masters are good. And pure things can be represented by pure lines. But mankind is not pure. The bad, the dangerous, the witchlike cannot be expressed by the old means,” my transl.). 166 165 Another example of the film putting Goya’s thoughts or words into another character’s mouth was mentioned in the introduction: Goya’s self-defense with regard to the inoffensive nature of the five paintings he made in response to an Inquisition trial he witnessed is uttered in the film by the Inquisitor, thus further pointing to the more central role of the Inquisition in the film. 166 In the novel, Goya’s reflections are somewhat more extensive as they directly challenge his friend don Miguel’s expectations of painting: “Ja mein lieber Miguel, die Methoden deines Monsieur David sind gut; klare Linien sind eine gute Sache, und klare Dinge lassen sich damit klar wiedergeben. Aber Welt und Menschen sind nun einmal nicht klar. Das Bösartige, das Gefährliche, das Kobold- und Hexenhafte, das Dahinter, das läßt sich mit deinen Mitteln nicht malen, das kann man den verehrten Alten nicht abschauen” (Goya 41). [“Yes, my dear Miguel. Your David’s methods are good. Pure line is a good thing in itself, and pure things allow themselves to be represented by it. But the world and the men in it are not pure. The bad, the dangerous, the supernatural, that which lurks behind, everything that does not let itself be expressed by your means, that’s something you can’t find in your respected classical masters” (This Is 34).] 133
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Copyright by Laura Mareike Sager 20
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Writing and Filming the Painting: E
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Acknowledgements I would like to ex
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After developing a framework of fou
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Chapter 4: Goya’s El sueño de la
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INTRODUCTION Chapter 1: Toward a De
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arts as well as between academic di
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value” than painting, and to offe
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(ut pictura poesis).” 14 But inte
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Similarly, Ernest B. Gilman has dis
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studied in terms of composition and
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Supper, a Crucifixion), but produce
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also lose their potential to be ekp
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etween art history and film studies
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In contrast to the films Poulton di
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words, filmic ekphrasis reenacts in
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to musical ekphrasis, I allege that
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films revert to the traditional mal
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Paris 1989 and Musée du Louvre IV,
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Moreover, the woman in the green co
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hear, read or talk about the art wo
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man in the blue shirt. The man next
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fruitfully applied to poetic ekphra
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has a similar goal and will adapt h
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Poulton describes sixteen categorie
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means and other filmic devices such
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paintings by Renoir with which the
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Attributive Ekphrasis The first cat
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conflictive, and one conflictive an
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instances of ekphrasis will play a
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hohen Brauen, den breiten Mund mit
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Blas de Otero’s poem “Guernica
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Inquisition trial, the works are di
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is in the film reduced to an expres
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present, and constitutes a device c
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contrasting images. In Plett’s te
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Similarly, Camilo José Cela’s Lo
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the addition of Dirck van Baburen
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I have discussed examples of dramat
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has identified three groups of pict
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Chapter 3: Goya’s The Sleep of Re
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an espousal of the Enlightenment an
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(Capricci, 1743), and Giambattista
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audience would probably be familiar
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intended meaning of the Caprichos
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Page 129 and 130: eason. However, this positive note
Page 131 and 132: Likewise, in Kunert’s poem, the r
Page 133 and 134: ends the nightmare sequence. Howeve
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Page 161 and 162: of ekphrasis in both produces a cer
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Page 179 and 180: Thus, as was the case with the Self
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Page 183 and 184: Thus, it is no surprise that such a
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Page 187 and 188: has not adopted it in his film. The
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Rembrandt has aged considerably, th
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the space where his mirror is proba
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However, Zuckmayer’s interpretati
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scène is constituted by the above-
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The use of the spoken word in this
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“turned to privacy and inwardness
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etween social classes and as the co
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the production of privacy that cons
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viewer’s gaze into actively seein
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TRACY CHEVALIER AND PETER WEBBER: G
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differences between the two women,
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etween the two since Griet has star
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scene, to contrast with her tranqui
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Vermeer’s economic dependence on
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omniscient narrator who describes C
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thereafter at an auction of that pa
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Likewise, the two central ekphrasti
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the role and function of art in hum
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epresenting class tensions. This di
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Vermeer and that the name of the gi
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economic and gender structures in t
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In short, these two novels foregrou
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may compete with both the visual ar
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promotion of his public image throu
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example, in the film Girl with a Pe
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PARAGONE But why do the ekphrastic
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Since its invention, film has been
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contemporary art historians. By for
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Berger, John, and Nella Bielski. Go
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Daniel, Howard. “Introduction.”
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Hartmann, Lucrecia. Capriccio - Bil
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Lopez-Rey, José. Goya’s Capricho
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Richter, Rolf. “Goya - der Weg zu
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Stoll, Andre. “Goyas Illumionatio
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Yacobi, Tamar. “The Ekphrastic Mo
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Vita Laura Mareike Sager was born i
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