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

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since the dramatization, animation, or visual montage of images, underscore the ability of literary texts and films to transmedialize the image by making it come alive or by re-inventing and re-creating it. With regard to reception, this is the most independent and imaginative type of ekphrasis, but also the most appropriating. Recognizable as ekphrasis only by those readers or viewers who are familiar with the artist’s oeuvre, dramatic ekphrasis tends to hide its ekphrastic discourse, all but amalgamating the art work into the own medium. In the following chapters, I will discuss selected literary and filmic ekphrases of four artists’ works, focusing on how the four different ekphrastic categories affect the interpretation and function of the paintings in the texts and films about works by Goya, Rembrandt, and Vermeer. 70
Chapter 3: Goya’s The Sleep of Reason in Poetry, Drama and Film: Dramatizing the Artist’s Battle with his Creatures INTRODUCTION Francisco Goya’s Caprichos are inherently marked by conflict and competition between words and images, reading and viewing. A series of eighty etchings 85 published in 1799 accompanied by an announcement in the Diario de Madrid as well as by written commentaries of disputed authorship, these works are dialogical, polyphone, and profoundly ambiguous. As Juan Carrete Larrondo and Ricardo Centellas Salamero have emphasized, “[l]os Caprichos de Goya deben ser mirados y deben ser leídos” (“Goya’s Caprichos have to be looked at and have to be read”). 86 Moreover, many of the Caprichos explicitly thematize the activities of reading, writing, seeing and observing. Andrew Schulz has shown how the “central perceptual tension” present in the works themselves as well as in the Diario de Madrid advertisement, is the “dialectic between two types of vision – observation and fantasy.” 87 85 The medium of the Caprichos is a combination of regular etching and aquatint. As Robert Hughes explains in Goya (New York: Alfred A. Knopf, 2003), aquatint unlike etching allows an effect of watercolor wash and gives a gamut of tones from delicate grey to a rich, velvety back of a density that could not be rivaled by linear etching (178). Hughes goes on to emphasizes the dramatic effect of aquatint in the Caprichos: “Those deep, thick, mysterious blacks against which figures appear with such solidity and certainty and yet with such apparitional strangeness, that darkness in which most detail is lost, so that one’s eye moves into a record of states of mind rather than a description of a ‘real’ world – such effects owe their intensity to the aquatint medium” (179). 86 “Mirar y leer los Caprichos de Goya. Palabras Preliminares,” Mirar y Leer: Los Caprichos de Goya (Zaragoza: Diputación Provincial de Zaragoza; Madrid: Calcografía Nacional; Pontevedra: Museo de Pontevedra, 1999), 13. All English translations are mine unless otherwise noted. 87 Goya’s Caprichos: Aesthetics, Perception, and the Body [New York: Cambridge UP, 2005), 11. 71
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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
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 and 68: is in the film reduced to an expres
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Page 71 and 72: contrasting images. In Plett’s te
Page 73 and 74: Similarly, Camilo José Cela’s Lo
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Page 77 and 78: I have discussed examples of dramat
Page 79: has identified three groups of pict
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Page 85 and 86: (Capricci, 1743), and Giambattista
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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
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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
Page 115 and 116: decapitated by one of his own paint
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Page 119 and 120: Goya’s aquatint and of the text-i
Page 121 and 122: adopt Goya’s perspective, puts th
Page 123 and 124: point, allowing the viewer a glimps
Page 125 and 126: eally happened. Boccherini’s musi
Page 127 and 128: moving characters are superimposed
Page 129 and 130: 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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