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

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An example of attributive ekphrasis may be found in Alfonso Plou’s drama Goya (1996), which represents several Goya pictures in brief tableaux vivants that function as background to the main action and illustrate an episode of Goya’s life. 57 The play takes place after Goya’s death, when he is visited by several of his friends, with whose help he recreates and recounts his life. Often, he or one of his friends reads from Goya’s letters, while other actors represent a painting related to the scene described in the letter, in the form of a tableau vivant. This is the case, for example, with the painting La familia del Infante Luis, which is mentioned in the excerpt from Goya’s letter without details about its composition, but its simultaneous representation in the background helps the spectator visualize the image and imagine its characters (97-98). Similarly, in Jean-Luc Godard’s A bout de soufflé (1959), several images are integrated into the narrative or even into the dialog between the two protagonists, Patricia and Michel. 58 When Patricia says dreamingly, “I wish we were Romeo and Juliet,” Picasso’s Les Amoureux (1923), which hangs over her bed as a postcard, fills the screen momentarily. The use of this image as commentary not only adds tension to their dialog by underscoring the protagonists’ different sensibilities, but it also adds a conflict or contradiction between three different images, Picasso’s painting, a (mental) image of Romeo and Juliet, and the film image of Patricia and Michel. These images provide three different concepts of relationships, one loving and harmonious, one loving yet 57 Alfonso Plou, “Goya,” A la Mesa de los tres reyes: Buñuel, Lorca y Dalí. Goya. Rey Sancho (Zaragoza: Diputación Provincial de Zaragoza, 2000) 87-146. 58 A bout de soufflé, dir. Jean-Luc Godard, perf. Georges de Beauregard, François Truffaut, Jean- Paul Belmondo, Liliane David, and Jean Seberg, 1960, DVD, WinStar TV & Video, 2001. 46
conflictive, and one conflictive and deceptive. Patricia projects herself onto the female images of her reproductions (another example is Renoir’s portrait of Mlle. Irene Cahen d’Anvers, 1880), using the images to cover up her true, deceitful self. The attributive category also includes texts or films that refer to ideas or conventions associated with the plastic arts (thus merging with Robillard’s associative category [62]), or to what Yacobi has called “ekphrastic model,” that is, a type or genre of paintings. For example, Gottfried Benn’s poem on Rembrandt, “Gewisse Lebensabende” (1946), generically alludes to the late self- portraits of the Dutch artist without specifically discussing one in detail. 59 Rembrandt’s late self-portraits function here as index of his self-searching attitude, his almost painful inquiry into the deepest recesses of the ageing self. A filmic example of this type occurs in Jean-Luc Godard’s Pierrot le fou (1965), which uses Picasso posters on the wall in the house of the female protagonist Marianne and the gangsters later on in the film to denote the young woman’s unconventionality as well as the violence of and around her. 60 Yet the Picasso series contrasts with a series of images by Renoir, which underscore Marianne’s romantic spirit and emotion (at one point, Marianne says to Ferdinand: “you speak to me with words and I look at you with emotions”). Moreover, most of the paintings cited in Pierrot le fou are (female) portraits by Renoir, Picasso, 59 Benn, Gottfried, “Gewisse Lebensabende,” Sämtliche Gedichte. (Stuttgart: Klett-Cotta Verlag, 1998) 229-231. 60 Pierrot le fou, dir. Jean-Luc Godard, perf. Georges de Beauregard, Anna Karina, Jean-Paul Belmondo, 1965, DVD, Winstar TV & Video, 1998. 47
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Copyright by Laura Mareike Sager 20
Page 3 and 4:
Writing and Filming the Painting: E
Page 5 and 6: Acknowledgements I would like to ex
Page 7 and 8: After developing a framework of fou
Page 9 and 10: Chapter 4: Goya’s El sueño de la
Page 11 and 12: INTRODUCTION Chapter 1: Toward a De
Page 13 and 14: arts as well as between academic di
Page 15 and 16: value” than painting, and to offe
Page 17 and 18: (ut pictura poesis).” 14 But inte
Page 19 and 20: Similarly, Ernest B. Gilman has dis
Page 21 and 22: studied in terms of composition and
Page 23 and 24: Supper, a Crucifixion), but produce
Page 25 and 26: also lose their potential to be ekp
Page 27 and 28: etween art history and film studies
Page 29 and 30: In contrast to the films Poulton di
Page 31 and 32: words, filmic ekphrasis reenacts in
Page 33 and 34: to musical ekphrasis, I allege that
Page 35 and 36: films revert to the traditional mal
Page 37 and 38: Paris 1989 and Musée du Louvre IV,
Page 39 and 40: Moreover, the woman in the green co
Page 41 and 42: hear, read or talk about the art wo
Page 43 and 44: man in the blue shirt. The man next
Page 45 and 46: fruitfully applied to poetic ekphra
Page 47 and 48: has a similar goal and will adapt h
Page 49 and 50: Poulton describes sixteen categorie
Page 51 and 52: means and other filmic devices such
Page 53 and 54: paintings by Renoir with which the
Page 55: Attributive Ekphrasis The first cat
Page 59 and 60: instances of ekphrasis will play a
Page 61 and 62: hohen Brauen, den breiten Mund mit
Page 63 and 64: Blas de Otero’s poem “Guernica
Page 65 and 66: Inquisition trial, the works are di
Page 67 and 68: is in the film reduced to an expres
Page 69 and 70: present, and constitutes a device c
Page 71 and 72: contrasting images. In Plett’s te
Page 73 and 74: Similarly, Camilo José Cela’s Lo
Page 75 and 76: the addition of Dirck van Baburen
Page 77 and 78: I have discussed examples of dramat
Page 79 and 80: has identified three groups of pict
Page 81 and 82: Chapter 3: Goya’s The Sleep of Re
Page 83 and 84: an espousal of the Enlightenment an
Page 85 and 86: (Capricci, 1743), and Giambattista
Page 87 and 88: audience would probably be familiar
Page 89 and 90: intended meaning of the Caprichos
Page 91 and 92: of his Obras has a frontispiece tha
Page 93 and 94: almost any sort of satire” since
Page 95 and 96: more explicit in literary texts, si
Page 97 and 98: y Goya,”1961). 112 In both these
Page 99 and 100: political opportunism of those indi
Page 101 and 102: have not a separating but a complem
Page 103 and 104: The drama takes place in December 1
Page 105 and 106: 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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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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