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Norden, Martin. “Film and Painting.” Film and the Arts in Symbiosis: A Resource Guide. Ed. Gary R. Edgerton. New York, Westport, and London: Greenwood Press, 1988. 17-46. Otero, Blas de. “Guernica.” Antología Poética: Expresión y Reunión. Madrid: Alianza, 1981. 130. Paech, Jürgen. “Ein-BILD-ungen von Kunst im Spielfilm.” Kunst und Künstler im Film. Eds. Helmut Korte, and Johannes Zahlten. Hameln: Verlag C.W. Niemeyer, 1990. 43-50. ---. “La belle captive (1983): Malerei, Roman, Film (Rene Magritte / Alain Robbe-Grillet).” Literaturverfilmungen. Ed. Franz-Josef Albersmeier and Volker Roloff. Frankfurt a.M.: Suhrkamp 1989. 409-436. Paecht, Otto. Rembrandt. Ed. Erwin Lachnit. München: Prestel, 1991. Persin, Margaret. Getting the Picture: The Ekphrastic Principle in Twentieth- Century Spanish Poetry. Lewisburg: Bucknell UP; London: Associated UP, 1997. Peucker, Brigitte. “Filmic Tableau Vivant: Vermeer, Intermediality, and the Real.” Rites of Realism: Essays on Corporeal Cinema. Ed. Ivone Margulies. Durham, NC and London: Duke UP, 2003. 294-314. ---. Incorporating Images: Film and the Rival Arts. Princeton: Princeton UP, 1995. Plato. The Republic of Plato. Ed., transl. and introd. by Allan Bloom. New York: Basic Books, 1968. Plett, Heinrich F. “Intertextualities.” Intertextuality. Ed. Heinrich F. Plett. Berlin and New York: Walter de Gruyter, 1991. 3-29. Plou, Alfonso. “Goya.” A la Mesa de los tres reyes: Buñuel, Lorca y Dalí. Goya. Rey Sancho. Zaragoza: Diputación Provincial de Zaragoza, 2000. 87-146. Poulton, Donna Lauren. Moving Images in Art and Film: The Intertextual and Fluid Use of Painting in Cinema. Diss Brigham Young U, 1999. Race, William H. “Ekphrasis.” The New Princeton Encyclopedia of Poetry and Poetics. Eds. Alex Preminger and T.V.F. Brogan. Princeton, NJ: Princeton UP, 1993. 320-321. 246
Richter, Rolf. “Goya – der Weg zur Erkenntnis.” Sonntag. Berlin/DDR, Nr. 40, 1971. Ridley, Alison J. “Goya’s Rediscovery of Reason and Hope: The Dialectic of Art and Artist in Buero Vallejo’s El sueño de la razón.” Bulletin of Hispanic Studies 73.1 (1996): 105-115. Robillard, Valerie. “In Pursuit of Ekphrasis (An Intertextual Approach).” Pictures into Words: Theoretical and Descriptive Approaches to Ekphrasis. Eds. Valerie Robillard and Els Jongeneel. Amsterdam: VU University Press, 1998. 53-72. Rojas, Carlos. Valle de los caidos. Barcelona: Ed. Destino, 1978. ---. Yo, Goya. Barcelona: Ed. Planeta, 1990. Roloff, Volker. „Zur Beziehung von Bild und Text am Beispiel von Goya, Caprichos.” Spanische Bildwelten. Literatur, Kunst und Film im intermedialen Dialog. Ed. Christoph Strosetzki and Andre Stoll. Frankfurt a.M., 1993. 1-15. Rosenzweig, Phyllis. Thomas Struth – Museum Photographs: Exhibition Brochure. Washington DC: Hirschborn Museum and Sculpture Garden, 1992. Sánchez Cantón, F. J. Los Caprichos de Goya y sus dibujos preparatorios. Barcelona: Instituto Amatler de Arte Hispánico, 1949. Saura, Carlos. Goya en Burdeos. Guión original de la película dirigida por Carlos Saura. Barcelona: Galaxia Gutenberg; Circulo de Lectores, 2002. Schama, Simon. Rembrandt’s Eyes. New York: Alfred A. Knopf, 1999. Schlünder, Susanne. Karnevaleske Körperwelten Francisco Goyas: zur Intermedialität der Caprichos. Tübingen : Stauffenburg, 2002. Schmidt-Degener, Frederick. Rembrandt und der holländische Barock. Trans. by Alfrend Pauli. Leipzig: B.G. Teubner, 1928. Scholz, Bernhard F. “‘Sub Oculos Subiectio’: Quintilian on Ekphrasis and Enargeia.” Pictures into Words: Theoretical and Descriptive Approaches to Ekphrasis. Eds. Valerie Robillard and Els Jongeneel. Amsterdam: VU University Press, 1998. 247
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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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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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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 and 250: Berger, John, and Nella Bielski. Go
Page 251 and 252: Daniel, Howard. “Introduction.”
Page 253 and 254: Hartmann, Lucrecia. Capriccio - Bil
Page 255: Lopez-Rey, José. Goya’s Capricho
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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