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This dialectic is also mirrored in the two self-portraits within this series. The opening plate shows the stern-looking artist in profile, dressed as a bourgeois gentleman, and identified in the caption as “Fran. co Goya y Lucientes / Pintor” (“Francisco Goya y Lucientes / Painter”). His piercing look sideways at the viewer underscores his status as keen, unrelenting observer and satirist. 88 By contrast, the second self-portrait, Capricho 43, El sueño de la razón produce monstruos (The Sleep of Reason Produces Monsters), portrays the sleeping artist at his desk, conjuring up all sorts of nightmare creatures in his dream, which surround him. Here, “artistic creativity is linked with the fantastic and visionary” (Schulz 11). 89 Capricho 43 is often seen as key to the whole series, and its interpretation frequently stands in for the meaning of the rest of the etchings. 90 For example, López-Rey claims that the caption within plate 43, El sueño de la razon produce monstruos, “is just as much an opening for the second part as it is a commentary on the first” (136). However, the etching has been used for two opposing interpretations, and the Caprichos have consequently been claimed as representing either a Romanticist position that criticizes the doctrine of reason, or 88 The commentary on this etching from the manuscript which is now in the Biblioteca Nacional in Madrid in fact reads: “Verdadero retrato suyo, de mal humor y gesto satírico” (qtd. in Edith Helman, El trasmundo de Goya [Madrid: Alianza, 1983], 213.) (“True portrait of himself, in bad humor and with satirical expression.”). 89 Susanne Schlünder has also pointed out the bipolar role of the author as manifested in those two self-portraits, which she sees as complimenting each other, offering a view, respectively, of the internal and external nature of artistic creation, the artist as public figure and private person. See. Karnevaleske Körperwelten Francisco Goyas. Zur Intermedialität der Caprichos (Tübingen: Stauffenburg Verlag, 2002), 125. 90 See, for example, Edith Helman, Los Caprichos de Goya (Estella, Navarra: Salvat Editores/Alianza Editorial, 1971), 113 and José López-Rey, Goya’s Caprichos: Beauty, Reason & Caricature, Vol 1 (Westport, Conn: Greenwood Press, 1953, reptd. 1970), 136. 72
an espousal of the Enlightenment and thus as appeal to overturn the unreason of a reactionary Spain. 91 This ambivalence of the pictorial sign which defines the Caprichos, and which is further heightened by its conflict with the various verbal signs, mirrors a loss of orientation and meaning within Goya’s social and private world. The early commentaries by Goya’s contemporaries can thus be seen as attempts to stabilize the meaning of those images by drawing on traditional emblematic or symbolic structures of signification (cf. Schlünder 100). Describing and defining the grotesque images of Goya’s fantasy, these commentaries also aim not only at an understanding of the images themselves, but also of the social reality that produced them. Twentieth century literary and cinematic responses to the Caprichos can, in a way, be seen as a continuation of the tradition of these commentaries, that is, as a continued attempt to define these images whose elusiveness and indefiniteness frustrate and resist verbal definition and description. But what does this mean for filmic ekphrasis? Will it have an advantage over literary ekphrasis in providing visual as well as verbal commentary? Or do the Caprichos also defy attempts to grasp it through dramatization and theatricalization? On the other hand, would not a statement such as the one cited above that the Caprichos have to be looked at and read imply that verbalizations of them are equal in status to the visual images? What format do these responses take: do they attempt to talk about the image, enter into dialog with it, or compete with it – and are different types of responses equally successful in their intermedial transposition of El 91 See C. Christopher Soufas, “‘Esto sí que es leer’: Learning to Read Goya’s Caprichos,” Word and Image 2 (1986): 311. 73
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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
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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 and 80: has identified three groups of pict
Page 81: Chapter 3: Goya’s The Sleep of Re
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
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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
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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
Page 131 and 132: 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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