He goes home and writes a poem inspired by the color orange. In her spare time, she is also a creative writer and visual artist. As a graduate student in Literary Studies, I spend most of my time tinkering around with words, but I am also an amateur visual artist. As they tell me about their art, I tend to feel a mixture of amazement, puzzlement, jealousy, and inspiration.
History[ edit ] Plato's forms, the beginning of ekphrasis[ edit ] In the Republic, Book X, Plato discusses forms by using real things, such as a bedfor example, and calls each way a bed has been made, a "bedness".
He commences with the original form of a bed, one of a variety of ways a bed may have been constructed by a craftsman and compares that form with an ideal form of a bed, of a perfect archetype or image in the form of which beds ought to be made, in short, the epitome of bedness.
In his analogy, one bedness form shares its own bedness — with all its shortcomings — with that of the ideal form, or template. A third bedness, too, may share the ideal form.
He continues with the fourth form also containing elements of the ideal template or archetype which in this way remains an ever-present and invisible ideal version with which the craftsman compares his work.
As bedness after bedness shares the ideal form and template of all creation of beds, and each bedness is associated with another ad infinitum, it is called an "infinite regress of forms".
From form to ekphrasis[ edit ] It was this epitome, this template of the ideal form, that a craftsman or later an artist would try to reconstruct in his attempt to achieve perfection in ekphrasis writing about art by sylvan work, that was to manifest itself in ekphrasis at a later stage. Artists began to use their own literary and artistic genre of art to work and reflect on another art to illuminate what the eye might not see in the original, to elevate it and possibly even surpass it.
Plato and Aristotle[ edit ] For Plato and Aristotleit is not so much the form of each bed that defines bedness: The painter's products stand before us as ekphrasis writing about art by sylvan they were alive, but if you question them, they maintain a most majestic silence.
It is the same with written words; they seem to talk to you as if they were intelligent, but if you ask them anything about what they say, from a desire to be instructed, they go on telling you just the same thing forever". Ekphrasis is described in Aphthonius ' Progymnasmatahis textbook of styleand later classical literary and rhetorical textbooks, and with other classical literary techniques was keenly revived in the Renaissance.
In the Middle Ages, ekphrasis was less often practiced, especially as regards real objects, and historians of medieval art have complained that the accounts of monastic chronicles recording now vanished art concentrate on objects made from valuable materials or with the status of relicsand rarely give more than the cost and weight of objects, and perhaps a mention of the subject matter of the iconography.
The Renaissance and Baroque periods made much use of ekphrasis. In Spain, Lope de Vega often used allusions and descriptions of Italian art in his plays, and included the painter Titian as one of his characters. Cervanteswho spent his youth in Italy, utilized many Renaissance frescoes and paintings in Don Quixote and many of his other works.
In England, Shakespeare briefly describes a group of erotic paintings in Cymbelinebut his most extended exercise is a line description of the Greek army before Troy in The Rape of Lucrece. Ekphrasis seems to have been less common in France during these periods. Herman Melville's Moby Dickor The Whale features an intense use of ekphrasis as a stylistic manifesto of the book in which it appears.
In the chapter "The Spouter Inn", a painting hanging on the wall of a whaler's inn is described as irreconcilably unclear, overscrawled with smoke and defacements. The narrator, so-called Ishmael, describes how this painting can be both lacking any definition and still provoking in the viewer dozens of distinct possible understandings, until the great mass of interpretations resolves into a Whale, which grounds all the interpretations while containing them, an indication of how Melville sees his own book unfolding around this chapter.
In Ibsen 's work The Lady from the Seathe first act begins with the description of a painting of a mermaid dying on the shore and is followed by a description of a sculpture that depicts a woman having a nightmare of an ex-lover returning to her.
Both works of art can be interpreted as having much importance in the overall meaning of the play as protagonist Ellida Wangel both yearns for her lost youth spent on an island out at sea and is later in the play visited by a lover she thought dead. Furthermore, as an interesting example of the back-and-forth dynamic that exists between literary ekphrasis and art, in eight years after the play was written Norwegian painter Edvard Munch painted an image similar to the one described by Ibsen in a painting he entitled unsurprisingly enough Lady from the Sea.
Ibsen's last work When We Dead Awaken also contains examples of ekphrasis as the play's protagonist, Arnold Rubek, is a sculptor who several times throughout the play describes his masterpiece "Resurrection Day" at length and in the many different forms the sculpture took throughout the stages of its creation.
Once again the evolution of the sculpture as described in the play can be read as a reflection on the transformation undergone by Rubek himself and even as a statement on the progression Ibsen's own plays took as many scholars have read this final play stated by Ibsen himself to be an 'epilogue' as the playwright's reflection on his own work as an artist.
In this novel, the protagonist, Prince Myshkin, sees a painting of a dead Christ in the house of Rogozhin that has a profound effect on him. Later in the novel, another character, Hippolite, describes the painting at much length depicting the image of Christ as one of brutal realism that lacks any beauty or sense of the divine.
Rogozhin, who is himself the owner of the painting, at one moment says that the painting has the power to take away a man's faith, a comment that Dostoyevsky himself made to his wife Anna upon seeing the actual painting that the painting in the novel is based on, The Body of the Dead Christ in the Tomb by Hans Holbein.
The painting was seen shortly before Dostoyevsky began the novel. Though this is the major instance of ekphrasis in the novel, and the one which has the most thematic importance to the story as a whole, other instances can be spotted when Prince Myshkin sees a painting of Swiss landscape that reminds him of a view he saw while at a sanatorium in Switzerland, and also when he first sees the face of his love interest, Nastasya, in the form of a painted portrait.
At one point in the novel, Nastasya, too, describes a painting of Christ, her own imaginary work that portrays Christ with a child, an image which naturally evokes comparison between the image of the dead Christ. Dorian meets Lord Henry Wotton, who espouses a new hedonism, dedicated to the pursuit of beauty and all pleasures of the senses.Ekphrasis.
One particular kind of visual description is also the oldest type of writing about art in the West. Called ekphrasis, it was created by the Greeks. The goal of this literary form is to make the reader envision the thing described as if it were physically present.
Orange and Sardines: Art and Ekphrasis in the Writing Center. Art and Ekphrasis in the Writing Center” Sarah Dimick. That question is probably over-simplifying, but I appreciate how your post is making me question the role of ekphrasis in my own writing as much as it makes me question the role of ekphrasis in my writing process.
Ekphrasis: writing that comments upon another art form, for instance a poem about a photograph or a novel about a film. Keats' "Ode on a Grecian Urn" is an example of this type of writing, since the central "story" of poem concerns the appearance and meaning of an ancient piece of pottery - but of course there is a twist.
(ekphrasis) and the more formal writing done in theses. The ideal outcome of this class will be a preliminary thesis proposal but because this class is a first-year requirement, it is Barnet, Sylvan.
A Short Guide to Writing about Art, 10th ed.
|Ekphrasis Definition | metin2sell.com Dictionary||Ekphrasis Ekphrastic Poetry Ekphrasis: The pottery now tells us a message for our own lives.|
|A Short Guide to Writing About Art by Sylvan Barnet||The first moment of ekphrastic poetry we have comes from Homer when he halts the battle action in The Illiad to describe the stunning Shield of Achilles. Classical ekphrasis tends to celebrate and illuminate its subject; Postmodern examples undermine the importance of verisimilitude.|
(US: Pearson, ). Barnet, Sylvan. "Writing About Art." A short Guide \r to Writing About Art. 4ed. New York: Harper, \r A short guide to writing about art by Sylvan Barnet () flag Like · see review Oct 27, LemontreeLime marked it as to-read · review of another edition/5.