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dramatization of an image in a literary text, for example, when a real-life scene is described that corresponds to an actual picture. For example, Antonio Buero Vallejo’s drama Las meninas (1960) begins with a tableau vivant of Velázquez’ paintings Menipo and Esopo, in which we see …los dos mendigos que, unos dieciséis años antes, sirvieron de modelos a Velázquez para sus irónicas versiones de Menipo y Esopo. La semejanza es completa […]. [Martin] mantiene a la izquierda la postura en que un día fuera pintado. Lo mismo hace a la derecha Pedro, que fue pintado como Esopo, y el sayo que le malcubre […] recuerda inconfundiblemente al que vistió cuando lo retrataron. (106) 73 Moreover, Martin, directly addresses the spectators, informing the viewers that he and Pedro are not paintings, but real people (“No, no somos pinturas,” 108; “No, we’re not paintings”). The tableau’s illusion of reality is thus deliberately thwarted by the characters themselves, a device by which the drama emphasizes the double status of its characters. This recurs throughout the rest of the drama, in which all characters are introduced in the same attire as in Velazquez’ Las meninas (1656) and at the very end compose that painting in a tableau vivant. By presenting the characters simultaneously as paintings and as human figures, the drama produces a sort of alienation effect that makes the viewer aware that the characters are neither paintings nor the characters they represent in the drama. Thus, it also points to a parallel between the past and the 73 Antonio Buero Vallejo, Las Meninas, 1960 (Madrid: Espasa Calpe, 1999). “…the two beggars who, some sixteen years before, served as models for Velazquez’s ironic versions of Menippus and Aesop. The resemblance is complete […]. [Martin] maintains at stage right the pose in which he was painted. Stage left, Pedro – who was painted as Aesop – does the same. Although his loose tunic is not the same one in the painting […] it recalls unmistakably the one he wore when his likeness was captured” (Las Meninas: A Fantasia in Two Parts, trans. Marion Peter Holt [Trinity: Trinity UP, 1987] 5). 58
present, and constitutes a device central to the teatro histórico as Buero Vallejo conceives it. 74 In film, the tableau will generally be shown with slow camera movement and a wide angle view, so that the camera can briefly linger over the tableau to invite a comparison with the actual picture. This is thus a mostly visual form of ekphrasis, though verbal discourse and auditory elements such as music may be present and add further nuances to the interpretation of the image. For example, Alexander Korda’s Rembrandt (1936) represents David Playing the Harp Before Saul (ca. 1656) in a tableau vivant. While Rembrandt is painting his models, a beggar as King Saul and his son Titus as David, he narrates the biblical story of King Saul to the beggar-model, who is moved to tears by it and at one point wipes his tears on the curtains just as he does in Rembrandt’s canvas. Curiously, this visual ekphrasis is produced by the artist’s storytelling power, by his narrative. In other words, the verbal narrative produces the visual ekphrasis, yet at the same time, the narrative becomes the verbal ekphrasis of this visual ekphrasis, since it narrates and verbalizes what is visually represented in the scene. The film thus invites comparison both between the film image and Rembrandt’s painting, and between the two visual versions and the verbal story. Another filmic example occurs in Peter Greenaway’s A Zed & Two Noughts (1985) with Vermeer’s The Art of Painting (ca. 1666-67). 75 The 74 See, for example Antonio Buero Vallejo, “Acerca del drama histórico,” Obras Competas II, ed. Luis Feijoo and Mariano de Paco (Madrid: Espasa Calpe, 1994) 827-8. See also Virtudes Serrano, introducción, Las meninas, by Antonio Buero Vallejo (Madrid: Espasa Calpe, 1999) 10-25. 75 A Zed and Two Noughts, dir. Peter Greenaway, perf. Andréa Ferréol, Eric Deacon, Brian Deacon, and Gerard Thoolen, 1985, Fox Lorber Home Video, New York: Distributed by WinStar TV and Video, 1999. Screenplay by Peter Greenaway, A Zed and Two Noughts (London and Boston: faber and faber, 1986) 59
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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
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 and 64: Blas de Otero’s poem “Guernica
Page 65 and 66: Inquisition trial, the works are di
Page 67: is in the film reduced to an expres
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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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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