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Works Cited Ahrens, Peter. “Goya.” Die Weltbühne. Berlin/DDR, 28 Sept. 1971. Alberti, Leon Battista. On Painting. Trans. by John R Spencer. New Haven and London: Yale University Press, 1966. Alberti, Rafael. Noche de guerra en el Museo del Prado. El hombre deshabitado. Ed. and intro. Gregorio Torres Nebrera. Madrid: Biblioteca Nueva, 2003. ---. “Sucedido.” Los ocho nombres de Picasso y no digo mas que lo que digo (1966-1970). Barcelona: Kairos, 1978. 79. Allan, Sean. “‘Die Kunst braucht kein Feigenblatt’. Art and the Artist in Konrad Wolf’s Goya and Der nackte Mann auf dem Sportplatz.” Finding a Voice: Problems of Language in East German Society and Culture. Eds. Graham Jackmann and Ian F. Roe. Amsterdam: Rodopi, 2000. 171-191. Alpers, Svetlana. Rembrandt’s Enterprise: The Studio and the Market. Chicago: University of Chicago Press, 1988. ---. The Art of Describing: Dutch Art in the Seventeenth Century. Chicago: The University of Chicago Press, 1983. Andioc, René. “Al margen de los Caprichos. Las explicaciones manuscritas.” Nueva Revista de Filologia Hispanica 33 (1984): 257-84. Art History and Film: Starting from the Arts: A Symposium, Boston, November 14-16, 1991. New York: Program for Art on Film, 1992. Aznar, José Camón. Goya. Judas. Madrid: Espasa Calpe, 1976. Bauer, Gerd. “Jean-Luc Godard: Ausser Atem/A Bout de Souffle (Frankreich 1959).” Kunst und Künstler im Film. Eds. Helmut Korte, and Johannes Zahlten. Hameln: Verlag C.W. Niemeyer, 1990. 111-121. Bazin, André. “Painting and Cinema.” What is Cinema? Trans. by Hugh Gray. Berkeley and Los Angeles: U of California P, 1967. 164-72. Belting, Hans. “Photography and Paining: Thomas Struth’s Museum Photographs.” Museum Photographs. By Thomas Struth. Ed. Hans Belting. Trans. Michael Robertson. München: Schirmer/Mosel, 1998. 5- 28. 238
Berger, John, and Nella Bielski. Goya’s Last Portrait: The Painter Played Today. London and Boston: Faber and Faber, 1989. Bialstocki, Jan. “Rembrandt’s Terminus.” Wallraf-Richartz-Jahrbuch 28 (1966): 49-60. Bihalji-Merin, Oto. Francisco Goya. Caprichos: Their Hidden Truth. Trans. by John E. Woods. New York and London: Harcourt Brace Jovanovich, 1981. Blankert, Albert. “Rembrandt, Zeuxis, and Ideal Beauty.” Album Amicorum J.G. van Gelder. Eds. J. G. van Gelder and J. Bruyn. The Hague: Nijhoff, 1973. 32-39. Bobrowski, Johannes. “Rembrandt (Drei Selbstbildnisse).” 1950/51. Gesammelte Werke. Vol 2. Ed. Eberhard Haufe. Stuttgart: Deutsche Verlags-Anstalt, 1987. 190-92. Braida, Antonella, and Giuliana Pieri. Introduction Image and Word: Reflections of Art and literature from the Middle Ages to the Present. Oxford: European Humanities Research Centre, 2003. 1-14. Bruhn, Siglind. “A Concert of Paintings: Musical Ekphrasis in the 20th Century.” Poetics Today 22:3 (2001): 551-605. ---. Musical Ekphrasis: Composers Responding to Poetry and Painting. Hillsdale, NY: Pendragon Press, 2000. Buero Vallejo, Antonio. “Acerca del drama histórico.” Obras Competas II. Ed. Luis Feijoo and Mariano de Paco. Madrid: Espasa Calpe, 1994. 827-8. ---. El tragaluz. El sueño de la razón. Madrid: Espasa Calpe, 1970. ---. Las Meninas. 1960. Madrid: Espasa Calpe, 1999. ---. Las Meninas: A Fantasia in Two Parts. Trans. Marion Peter Holt. San Antonio, TX: Trinity UP, 1987. ---. The Sleep of Reason. Trans. Marion Peter Holt. University Park: Estreno, 1998. Cela, Camilo José. Los Caprichos de Francisco de Goya y Lucientes. S.L.: Silex, 1989. 239
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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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The drama takes place in December 1
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King’s minister Calomarde, take o
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works, rather than his mistress Leo
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While the first phrase (“Tal para
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with the perspective represented in
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interpretation also points to Buero
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decapitated by one of his own paint
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azón and his own involvement in an
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Goya’s aquatint and of the text-i
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adopt Goya’s perspective, puts th
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point, allowing the viewer a glimps
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eally happened. Boccherini’s musi
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moving characters are superimposed
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eason. However, this positive note
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Likewise, in Kunert’s poem, the r
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ends the nightmare sequence. Howeve
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Chapter 4: Goya’s El sueño de la
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anger at his constant surveillance
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USES OF EKPHRASIS IN THE NOVEL AND
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phantastischen Gefunkels hart, nack
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sphere. Unlike the novel, the inter
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power and their inability to rule S
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Entering the Quinta del Sordo, on t
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that emphasizes the personal, aesth
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his source of hope and spiritual gu
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drawings and paintings of his exter
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struggle with himself and his inter
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y strange creatures from his imagin
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marked off as actual threat, as opp
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of ekphrasis in both produces a cer
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point of view. Yet, during the same
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interpretive ekphrases), or visuall
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image to the public, in other words
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that both of these works equally pe
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concretized by the film for an audi
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competition on another level, by re
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aspirations, it seems to portray hi
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the renowned artist from classical
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Thus, as was the case with the Self
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wearing not his usual white cap or
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Thus, it is no surprise that such a
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the great genius from humble origin
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has not adopted it in his film. The
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etchings and drawings, which are, o
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While Korda also does not show Sask
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Rembrandt has aged considerably, th
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the space where his mirror is proba
Page 197 and 198: However, Zuckmayer’s interpretati
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Page 201 and 202: The use of the spoken word in this
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Page 211 and 212: TRACY CHEVALIER AND PETER WEBBER: G
Page 213 and 214: differences between the two women,
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Page 219 and 220: Vermeer’s economic dependence on
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Page 223 and 224: thereafter at an auction of that pa
Page 225 and 226: Likewise, the two central ekphrasti
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Page 229 and 230: epresenting class tensions. This di
Page 231 and 232: Vermeer and that the name of the gi
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Page 235 and 236: In short, these two novels foregrou
Page 237 and 238: may compete with both the visual ar
Page 239 and 240: promotion of his public image throu
Page 241 and 242: example, in the film Girl with a Pe
Page 243 and 244: PARAGONE But why do the ekphrastic
Page 245 and 246: Since its invention, film has been
Page 247: contemporary art historians. By for
Page 251 and 252: Daniel, Howard. “Introduction.”
Page 253 and 254: Hartmann, Lucrecia. Capriccio - Bil
Page 255 and 256: Lopez-Rey, José. Goya’s Capricho
Page 257 and 258: Richter, Rolf. “Goya - der Weg zu
Page 259 and 260: Stoll, Andre. “Goyas Illumionatio
Page 261 and 262: Yacobi, Tamar. “The Ekphrastic Mo
Page 263: Vita Laura Mareike Sager was born i
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