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

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In Vargas Llosa’s Gauguin novel and Feuchtwanger’s Goya novel, the same pictures I have discussed above under the depictive category are also used in the novels in interpretive ekphrases. For example, the above-cited description of La hermana de caridad in Vargas Llosa’s El Paraíso en la otra esquina is followed by an abstract interpretive commentary by the narrator and by a personalized reflection from the perspective of Gauguin: Un cuadro que mostraba la total incompatibilidad de dos culturas, de sus costumbres y religiones, la superioridad estética y moral del pueblo débil y avasallado y la inferioridad decadente y represora del pueblo fuerte y avasallador. Si en vez de Vaeoho [his last Tahitian wife] te hubieras amancebado con un mahu lo mas probable era que lo tuvieras todavía aquí contigo, cuidándote […]. No fuiste un salvaje cabal, Koke [Gauguin’s nickname]. (El Paraíso 472) 68 Here, the narrator abstracts from the previous description and proceeds to an interpretation of the painting and its significance for Gauguin. Not only does the painting demonstrate the painter’s general belief in the superiority of the uncivilized people, but it also leads him to a reflection about his own life and sexuality, to the realization that in spite of his emulation of the Tahitian life style he has remained conventional in his sexuality. The reflection on the painting thus leads to reflections sparked by, but going beyond its subject. In Lion Feuchtwagner’s Goya novel, as in Vargas Llosa’s Gauguin novel, interpretive ekphrases often follow depictive ones. After detailed descriptions by the narrator of the five works Goya composed in response to witnessing an 68 “It was a painting that showed the total incompatibility of two cultures, their customs and religions; the aesthetic and moral superiority of the weaker, subjugated people and the decadent, repressive inferiority of the stronger, dominant people. If instead of Vaeoho [his last Tahitian wife] you had set up house with a mahu, he would probably still be here caring for you, […]. You weren’t a full-fledged savage, Koké [Gauguin’s nickname].” (The Way 363) 54
Inquisition trial, the works are discussed and commented on various times by Goya’s friends. 69 Goya’s aide Agustin Esteve’s particularly detailed reflection follows the descriptions immediately. His interpretive ekphrasis of the works focus both on their formal composition and on larger implications of the works’ significance, as well as their implicit political statements: Was auf diesen Bildern zu sehen war, das waren umständliche Begebenheiten mit vielen Menschen, aber da war nichts Überflüssiges mehr. Es war eine sparsame Fülle. [...] [A]lle fünf Bilder, so mannigfach ihr Inhalt schien, gehörten zusammen. [...] [D]as war eines, das war Spanien. Die ganze Wildheit war darin, das Grausen, das Dumpfe, Dunkle, das sogar in der spanischen Freude ist. Trotzdem [...] lag darüber ein Leichtes, Beschwingtes: der Schrecken der Vorgänge war aufgehoben durch die zarte Helligkeit des Himmels, das schwebende, abgestufte Licht. [...]. Lehnte diese Malerei sich Gegen die Regierung auf? Empörte Sie sich gegen Thron und Altar? Nichts dergleichen war mit Augen Sichtbar, noch mit Worten sagbar. Trotzdem störten diese kleinen Bildern einen auf, viel mehr als Worte, die empörerischsten. [...] (Goya 190-91). 70 69 In the novel, these works predate the Caprichos, while actually they were made several years later. They are: Bullfight Scene (c. 1812-19), The Madhouse (c. 1812-19), Procession of Flagellants (c. 1812-19), Burial of the Sardine (1808-19), and Inquisition Scene (c.1812-19). 70 “The subjects of these pictures were complex events involving many people, yet nothing was superfluous. It was a carefully measured abundance. […] [A]ll five pictures, diverse though their contents were, […] were a unity, were Spain. The whole ferocity was there, the horror; and the dullness and darkness that are present even in Spanish happiness. And yet […] a lightness lay over it all, something rhythmic; the frightening impact of the action was mitigated by the tender clarity of the sky, the floating, delicately shaded light. […] Were these pictures, then, seditions? / Were they hostile to the ruling / Powers? Did they rise against the / Throne and Altar? Not so far as / Eye could see or lips express in / Words. And yet these little pictures / Were disturbing. They disturbed one / More than words howe’er disloyal. […]” (This Is 171) 55
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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
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 and 60: instances of ekphrasis will play a
Page 61 and 62: hohen Brauen, den breiten Mund mit
Page 63: Blas de Otero’s poem “Guernica
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
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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
Page 111 and 112: with the perspective represented in
Page 113 and 114: 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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