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Chapman, Perry H. Rembrandt's Self-Portraits: A Study in Seventeenth-Century Identity. Princeton, N.J.: Princeton UP, 1990. Chevalier, Tracy. Girl with a Pearl Earring. London and New York; Penguin, 1999. Cibelli, Deborah H. “'Girl with a Pearl Earring': Painting, Reality, Fiction.” Journal of Popular Culture 37.4 (2004): 583-92. Ciofalo, John J. “Goya's Enlightenment Protagonist--A Quixotic Dreamer of Reason.” Eighteenth-Century Studies 30.4 (1997) 421-436. Clark, Kenneth. An Introduction to Rembrandt. London: J. Murray, 1978. Claus, Horst. “Whose Film Is It? Alexander Korda’s Adaptation of Carl Zuckmayer’s Film Script Rembrandt.” Text into Image: Image Into Text. Eds. Jeff Morrison and Florian Krobb. Amsterdam and Atlanta: Rodopi, 1997. 267-75. Clüver, Claus. “Ekphrasis Reconsidered: On Verbal Representations of Non- Verbal Texts.” Interart Poetics: Essays on the Interrelations of the Arts and Media. Ed. Ulla-Britta Lagerroth, Hans Lund, and Erik Hedling. Amsterdam and Atlanta: Rodopi, 1997. 19-33. ---. “On Intersemiotic Transposition.” Art and Literature I. Ed. Wendy Steiner. Spec. issue of Poetics Today 10.1 (1989): 55-90. ---. “Quotation, Enargeia, and the Function of Ekphrasis.” Pictures into Words: Theoretical and Descriptive Approaches to Ekphrasis. Eds. Valerie Robillard and Els Jongeneel. Amsterdam: VU University Press, 1998. 35- 52. Dalle Vacche, Angela. Cinema and Painting: How Art Is Used in Film. Austin: U of Texas P, 1996. ---. “Introduction: Unexplored Connections in a New Territory.” The Visual Turn: Classical Film Theory and Art History. Ed. Angela Dalle Vacche. New Brunswick, NJ and London: Rutgers UP, 2003. 1-29. ---. “Jean Luc Godart’s Pierre le Fou: Cinema as Collage against Painting.” Literature/Film Quarterly 23.1 (1995): 39-54. 240
Daniel, Howard. “Introduction.” Callot’s Etchings. Ed. Howard Daniel. New York: Dover, 1974. ix-xxiv. “Demokritos.” Philosophisches Wörterbuch. Ed. Georgi Schischkoff. Stuttgart: Alfred Kröner Verlag, 1991. 124. Dizon, Simon Howard. The Image Incarnate: On the Documentary Representation of Painting in Film. Diss U of Iowa, 2000. Doane, Mary Ann. Femmes Fatales: Feminism, Film Theory, Psychoanalysis. New York and London: Routledge, 1991. 165-77. Doménech, Ricardo. El teatro de Buero Vallejo. Madrid: Editorial Gredos, 1973. Dowling, John. “Buero Vallejo’s interpretation of Goya’s ‘Black Paintings’.” Hispania 56.2 (1973): 449-457. Drazin, Charles. Korda: Britain’s Only Movie Mogul. London: Sidgwick & Jackson, 2002. Drumm, Elizabeth. “Ekphrasis in Valle-Inclán's Comedias bárbaras.” Revista de Estudios Hispánicos 34.2 (2000): 391-407. Durzak, Manfred, and Hartmut Steinecke. „Einleitung.“ Günter Kunert: Beiträge zu seinem Werk. Eds. Manfred Durzak und Hartmut Steinecke. München and Wien: Carl Hanser Verlag, 1992. Egan, Catherine and John. “Films about Artists and Their Audiences.” The “Mediazation” of the Arts. Ed. Catherine Egan. Spec. Issue of Perspectives on Film 4 (1982): 20-30. Felleman, Susan. Art in the Cinematic Imagination. Austin: University of Texas Press, 2006. Feuchtwanger, Lion. Goya oder Der arge Weg der Erkenntnis. 1951. Berlin: Aufbau Verlag, 1961. ---. This Is The Hour. Trans. H.T. Lowe-Porter and Frances Fawcett. New York: The Viking Press, 1951. Fischer, Ellen. “Das Künstlerbild im amerikanischen Spielfilm der 50er und 60er Jahre.“ Film, Fernsehen, Video und die Künste: Strategien der 241
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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
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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 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 and 248: contemporary art historians. By for
Page 249: Berger, John, and Nella Bielski. Go
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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