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

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the sarcasm of his drawings more by adding the captions. But as he is working on these etchings, he learns that his best friend, Martín Zapater, with whom he stayed in Zaragoza, has died. Overcome with pain, he gets into a raving fit, blaming alternatively Zapater for deserting him, and himself for his friend’s death. He then realizes that he has been prey to the demons within him and it is now that he composes the Sueño de la razón as a self-portrait surrounded by the demons: Da saßen sie [die Dämonen] um ihm, gräßlich greifbar, in seine Taubheit hinein drang ihr Gekrächz, Geknurr, Gekreisch, er spürte ihren furchtbaren Atem. […] Er wird fertig mit dem Gezücht, er zwingt es aufs Papier. Zeichnet. Zeichnet sich selber, übern Tisch geworfen, das Gesicht in den Armen verbergend, und um ihn herum hockt es, das wüste Getümmel der Nacht, Katzengetier, Vogelgetier, Ungeheuer, Eulen und Fledermäuse, riesig, ihn bedrängend. Aus nächster Nähe bedrängen sie ihn: hockt ihm nicht eines der Ungeheuer schon auf dem Rücken? Aber nur an ihn heran dürfen sie, in ihn hinein dürfen sie nicht mehr. Denn einem der wilden, scheußlichen Vogelgeister hat er einen Stichel in die Krallen gezwungen, einen Griffel. Dienen müssen sie ihm, die Gespenster, müssen ihm selber das Werkzueg reichen, die Waffe, sie zu exerzieren, sie aufs Papier zu bannen, dahin, wo sie nicht mehr schaden können (Goya 487-88). 171 This interpretive ekphrasis of the Sueño de la razón again emphasizes the artist’s power to banish the monsters, to exorcize them by “banning them onto paper.” Giving his mental demons a visible shape and form, the artist gains control over them. Goya’s aquatint, then, represents for Feuchtwanger Goya’s 171 “They [the demons] sat around him, horribly palpable, their croaking, growling, and shrieking penetrated his very deafness, he felt their dreadful breath. […] He will get the upper hand of the brood, force it down onto paper. He drew. Drew himself, thrown across the table, hiding his head in his hands while around him they squatted, the hideous brood of the night, cat-creatures, bird-creatures, monsters, owls and bats, gigantically oppressing him. They crowd right in upon him – is not one of the monsters already on his back? But they can only come up to him, they can no longer get inside him. For into the claws on one of the bird-specters he forced a tool, a graver. They must serve him, these ghosts, must hand him his tools, the weapons he needs to exorcise them, to consign them to paper where they no longer had power to harm” (This Is 443). 144
struggle with himself and his internal demons, but he emphasizes the artist’s victory over them. However, Feuchtwanger also participates at another level in this battle between the artist and his demons. His ekphrastic transposition of this scene of the creation of the Sueño de la razón conveys a power to the artist that he does not have in Goya’s original aquatint. It is thus only through Feuchtwanger’s ekphrasis that Goya can claim his victory. In other words, this ekphrasis not only demonstrates the painter’s power, but also that of the author over the painter By contrast, in Konrad Wolf’s film two of the three ekphrases of Goya’s Sueño de la razón are responses to political situations and have no direct correspondence to episodes in the novel. Another scene in which this aquatint is dramatized occurs after a fight between Goya and Cayetana and thus has a more personal, private dimension. In all three cases, however, the demons originate not within but outside of Goya, and the artist is their helpless victim. The first ekphrasis of the Sueño de la razón is a brief tableau vivant, that is, an interpretive ekphrasis, rather than a dramatic one. Goya has a fight with his aide and friend Agustin Esteve about his un-political stance in which Esteve criticizes Goya for painting only to please his commissioners. Accusing him of vanity and denigrating his paintings as “effektvollen Dreck” (“effect-seeking dirt”), Esteve emphasizes that precisely because of his greater talent, his “lies” are also more dangerous than those of other painters. Goya, however, gets very angry at his aide and takes great offense at his words, but instead of arguing with him, he in turn offends him. In the middle of his raving anger, Goya suffers from a mental attack, and, covering his ears, he sits down at his desk, in the position of 145
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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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have not a separating but a complem
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Page 109 and 110: While the first phrase (“Tal para
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Page 119 and 120: Goya’s aquatint and of the text-i
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Page 123 and 124: point, allowing the viewer a glimps
Page 125 and 126: eally happened. Boccherini’s musi
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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
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 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
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
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Page 191 and 192: While Korda also does not show Sask
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Page 197 and 198: However, Zuckmayer’s interpretati
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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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