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Schröder, Klaus Albrecht, and Marian Bisanz-Prakken, eds. Rembrandt. Wien: Albertina; Wolfratshausen: Edition Minerva, 2004. Schulz, Andrew. Goya's Caprichos: Aesthetics, Perception, and the Body. Cambridge, NY: Cambridge University Press, 2005. Schwartz, Gary. Rembrandt: His Life, His Paintings. New York: Viking Press, 1985. Scott, Grant F. “The Rhetoric of Dilation: Ekphrasis and Ideology.” Word & Image 7.4 (1991): 301-10. Serrano, Virtudes. Introducción. Las meninas. By Antonio Buero Vallejo. Madrid: Espasa Calpe, 1999. 9-52. Seznec, Jean. “Art and Literature: A Plea for Humility.” New Literary History 3.3 (1972): 569-74. Soufas, C. Christopher. “Esto si que es leer: Learning to read Goya’s Caprichos.” Word and Image 2 (1986): 311-330. Snow, Edward. A Study of Vermeer. Berkeley: University of California Press, 1994. Spitzer, Leo. “The ‘Ode on a Grecian Urn,’ or Content vs. Metagrammar” Comparative Literature 7.3 (1955): 203-25. Steadman, Philip. Vermeer’s Camera: Uncovering the Truth Behind the Masterpieces. Oxford: Oxford UP, 2001. Stechow, Wolfgang. “Rembrandt-Democritus.” The Art Quarterly 7.4 (1944): 32- 38. Steiner, Wendy. The Colors of Rhetoric. Chicago and London: U of Chicago P, 1982. ---. Pictures of Romance: Form Against Context in Painting and Literature. Chicago: University of Chicago Press, 1988. Stockham, Martin. The Korda Collection: Alexander Korda’s Film Classics. London: Boxtree Limited, 1992. 248
Stoll, Andre. “Goyas Illumionatio – Zum ästhetischen Genesisbericht der Caprichos.” Spanische Bilderwelten: Literatur, Kunst und Film im intermedialen Dialog. Ed. Christoph Strosetzki and Andre Stoll. Frankfurt a.M.: Vervuert, 1993. 16-37. Struth, Thomas. Museum Photographs. Ed. Hans Belting. München: Schirmer/Mosel, 1998. ---. Thomas Struth 1977-2002. New Haven and London: Dallas Mueum of Art, Yale Universtiy Press, 2002-2003. Tabori, Paul. Alexander Korda. New York: Living Books, 1966. Thiele, Jens. Das Kunstwerk im Film. Bern: Herbert Lang; Frankfurt a.M. und München: Peter Lang, 1976. Tomlinson, Janis A. Goya in the Twilight of Enlightenment. New Haven: Yale UP, 1992. Torgovnick, Marianne. The Visual Arts, Pictorialism, and the Novel: James: Lawrence, Woolf. Princeton: Princeton UP, 1985. Urrero Peña, Guzmán. “Por un retrato de Luis Buñuel: Entrevista con Francisco Rabal y Carlos Saura.” Cuadernos Hispanoamericanos 603 (2000): 33-35. Vargas Llosa, Mario. El Paraiso en la otra esquina. Bogota, Colombia: Alfaguara, 2003. ---. The Way to Paradise. Trans. Natasha Wimmer. New York: Farrar, Straus and Giroux, 2003. Vogel, Amos. Film as Subversive Art. New York Random House, 1974. Vreeland, Susan. Girl in Hyacinth Blue. Denver: MacMurray & Beck, 1999. Wagener, Hans. “Carl Zuckmayers Rembrandt: Drehbuch und Drama.” Michigan German Studies 12.2 (1986): 151-163. Wagner, Peter. Icons – Texts – Iconotexts: Essays on Ekphrasis and Intermediality. Berlin and New York: Walter de Gruyter, 1996. 249
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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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etween social classes and as the co
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Page 211 and 212: TRACY CHEVALIER AND PETER WEBBER: G
Page 213 and 214: differences between the two women,
Page 215 and 216: etween the two since Griet has star
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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 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 and 256: Lopez-Rey, José. Goya’s Capricho
Page 257: Richter, Rolf. “Goya - der Weg zu
Page 261 and 262: Yacobi, Tamar. “The Ekphrastic Mo
Page 263: Vita Laura Mareike Sager was born i
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