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onto paper, Goya is here able to dominate and banish them. In fact, Goya’s aquatint is again evoked and simultaneously denied: Er schloss nicht die Augen vor den Dämonen, warf sich nicht über den Tisch, um den Kopf vor ihnen zu verbergen. Er schaute ihnen in die Gesichter, hiel sie fest, bis sie sich ihm ganz offenbart hatten, zwang sie und seine Angst und seinen Wahn aufs Papier (Goya 402). 169 This tableau vivant, then, is explicitly portrayed as a counter image to the Sueño de la razón. Departing from Goya’s original image, this dramatic ekphrasis focuses not on the threat of the demons, but on the artist’s ability and power to overcome them when he awakes from his own sleep of reason and combines reason and fantasy to create art. It should be noted, though, that Goya is here working on his preparatory drawings for the Sueño de la razón and the Caprichos, not yet the final etchings. In fact, the Sueño I, with Goya’s own likeness in the background together with other indistinct figures and faces, may be explicitly alluded to when Goya now also draws his own face from memory, from the time after his collapse, the “face of his uttermost extremity” (This Is 364). But the demons he draws are not only Goya’s internal, mental creations, but are also interpreted as closely connected to his relationship with the Duchess Cayetana de Alba, whom he loves but by whom he also feels betrayed because of her affairs with other men. Thus, he envisions her as part of the Aquelarre, the Witches’ Sabbath (which was historically created almost twenty years after the Caprichos). The chapter ends, again in trochees, by emphasizing how Goya’s 169 “He did not shut his eyes against the demons, did not throw himself across the table to hide his head from them. He looked them in the face, held onto them till they had revealed themselves to him fully, then forced them and his fear and madness onto paper” (This Is 364). 142
drawings and paintings of his externalized fears oppressing his mind results in his victory over them: So zeichnete Goya Tag für Tag. Wirft hin, was durch den Sinn ihm Geht. Läßt seinen Träumen freien Lauf. Läßt sie heraus aus seinem Kopfe kriechen, fliegen, die Dä- Monen, die Gespenster, ratten- Schwänzig, hundsgesichtig, kröten- Mäulig, Cayetana immer Unter ihnen. Zeichnet sie mit Wüt’ger Inbrunst, hält sie fest, es Ist ihm Qual und Lust, sie so zu Zeichnen, ist ein beßrer Wahn, fast Lustig, nicht so tierisch schmerzhaft Wie der Wahn, der ihm die Brust und Ihm den Kopf zerdrückt, wenn er nur Sitzt und denkt und wird nicht fertig mit dem Denken. Nein, solang er Zeichnet, darf er närrisch sein. Es Ist hellsicht’ger Wahn, er freut sich Seiner, er genießt ihn. Und er Zeichnet (Goya 403-4). 170 These final verses again take up the demons of the Sueño de la razón or its preparatory drawings in lines five to eight, but now explicitly connect this image to Cayetana, thereby re-interpreting the image as intensely personal and private. It is several chapters later that Goya begins etching those preparatory drawings for the Caprichos. Goya is now back in Madrid, and he is foregrounding 170 “Day by day now Goya draws, flings / Out and off what passes through his / Mind. He gives his dreams their fullest / Play. He lets them creep and fly out / Of his head, the demons, specters – Rat-tailed, dog-faced, toad-mouthed / – always / Cayetana is among them. / So he draws her, raging, lusting, / Holds her fast; both lust and torment / ‘tis to him to draw her so; he / Feels it is a better madness, / Almost blithe, not quite so beastly / ‘Tis to draw her so, as when he / Sits and things, the other madness / Crushing head and breast and never / Finding end to thinking. No, so / Long as he can draw he may be / Foolish, for there is clear-sighted / Folly in it, he enjoys it, / And he draws” (This Is 365). 143
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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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of his Obras has a frontispiece tha
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almost any sort of satire” since
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more explicit in literary texts, si
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y Goya,”1961). 112 In both these
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political opportunism of those indi
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Page 103 and 104: The drama takes place in December 1
Page 105 and 106: King’s minister Calomarde, take o
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Page 109 and 110: While the first phrase (“Tal para
Page 111 and 112: with the perspective represented in
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Page 115 and 116: decapitated by one of his own paint
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Page 119 and 120: Goya’s aquatint and of the text-i
Page 121 and 122: adopt Goya’s perspective, puts th
Page 123 and 124: point, allowing the viewer a glimps
Page 125 and 126: eally happened. Boccherini’s musi
Page 127 and 128: moving characters are superimposed
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
Page 135 and 136: Chapter 4: Goya’s El sueño de la
Page 137 and 138: anger at his constant surveillance
Page 139 and 140: USES OF EKPHRASIS IN THE NOVEL AND
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Page 147 and 148: Entering the Quinta del Sordo, on t
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Page 151: his source of hope and spiritual gu
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Page 161 and 162: of ekphrasis in both produces a cer
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Page 165 and 166: interpretive ekphrases), or visuall
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Page 169 and 170: that both of these works equally pe
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Page 173 and 174: competition on another level, by re
Page 175 and 176: aspirations, it seems to portray hi
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Page 179 and 180: Thus, as was the case with the Self
Page 181 and 182: wearing not his usual white cap or
Page 183 and 184: Thus, it is no surprise that such a
Page 185 and 186: the great genius from humble origin
Page 187 and 188: has not adopted it in his film. The
Page 189 and 190: etchings and drawings, which are, o
Page 191 and 192: While Korda also does not show Sask
Page 193 and 194: Rembrandt has aged considerably, th
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Page 197 and 198: However, Zuckmayer’s interpretati
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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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