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

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ante el mundo, con perfecta soltura su convicción, su condición de ser libre y artificial de hombre-mujer, su sexo inventado, su imaginación sin orejeras. (El Paraíso 472) 64 In this depictive ekphrasis, central elements of the painting are mentioned and described in terms of how they stand in relation to each other, as well as what they look like or what impression they give the viewer. This depiction is qualitatively important since it takes up one of the central themes of the novel, different attitudes to sex and gender, thus contributing to the novel’s interpretation of Gauguin and his oeuvre. The description highlights the contrast between what Vargas Llosa’s Gauguin sees as the Western, Catholic, civilized inhibition represented by the nun, and the Tahitian, uncivilized “man-woman” who is free even to chose his own sex. Not only has Gauguin in this novel been persistently fascinated by these men-women, but also with how to represent the Tahitian sexual and personal freedom to show their superiority to Western civilization. Many instances of depictive ekphrasis occur in Lion Feuchtwanger’s novel Goya oder Der arge Weg der Erkenntnis (1951), most of them from the narrator’s perspective (the characters’ ekphrases are mostly of the next category, interpretive). A painting that functions in this novel as beginning of Goya’s new style and political attitude, the Portrait of Doña Lucía, is described by the narrator in its process of creation: Von der Leinwand schaute eine Dame, sehr hübsch, das längliche Gesicht leicht maskenhaft und spöttisch, die Augen weit auseinanderstehend unter 64 “Swathed in wimple, habit, and veil, and symbolizing terror of the body, freedom, nudity, and nature, a nun from the Catholic mission stood in contrast to a half-naked mahu, who, with perfect ease and assurance, faced the world as a free, artificial man-woman, his sex invented, his imagination unfettered” (The Way 363). 50
hohen Brauen, den breiten Mund mit schmaler Ober- und starker Unterlippe geschlossen (Goya 21). 65 Although there are at least eight more ekphrases of this painting throughout the novel, this is the only time details of it are mentioned, and thus, the only time the reader is allowed to visualize it. Since this work in the novel plays such an important role in Goya’s subsequent aesthetic and political change, and is discussed in terms of its style on various occasions, this first descriptive ekphrasis is crucial for the reader, for whom the later ekphrases would otherwise remain meaningless. There are countless further examples in this novel in which the narrator reconstructs images verbally through extended description with many details, a depictive ekphrasis often followed by the novel’s characters’ interpretive reflections on the paintings. This same procedure is applied in Vargas Llosa’s Gauguin novel, such as the passage quoted above, which is also followed by Gauguin’s reflections. Because film can directly show the paintings, it largely foregoes or abbreviates depictive ekphrases. A filmic example of his category is the Nightwatch scene in Alexander Korda’s Rembrandt (1936). 66 When this famous commissioned painting is revealed to the public, people point to several details of the image, which they condemn, while the camera shows these details in close-ups, moving back and 65 Lion Feuchtwanger, Goya oder Der arge Weg der Erkenntnis (1951; Berlin: Aufbau Verlag, 1961) “From the canvas a lady looked down: very pretty, the rather long face like a mocking mask, the eyes far apart under arched eyebrows, the mouth wide, the thin upper lip and heavy lower one meeting firmly” (This Is The Hour, trans. H.T. Lowe-Porter and Frances Fawcett [New York: The Viking Press, 1951] 16). 66 Rembrandt, dir. Alexander Korda, perf. Charles Laughton, Gertrude Lawrence, Elsa Lanchester, and Edward Chapman, 1936, DVD, MGM Home Entertainment, 2001. 51
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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
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 and 56: Attributive Ekphrasis The first cat
Page 57 and 58: conflictive, and one conflictive an
Page 59: instances of ekphrasis will play a
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
Page 107 and 108: works, rather than his mistress Leo
Page 109 and 110: 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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