Assignment Paper 210A- Research Project Writing: Dissertation Writing
From Art to Literature: Exploring Ekphrasis Novels ‘The Goldfinch’, ‘Girl with a Pearl Earring’, ‘The Picture of Dorian Gray’
Name - Hina Parmar
Batch - M.A. Sem 4 (2022-2024)
Enrollment no - 40692064202221
Roll no - 10
Subject code - 22417
Paper no - 210A
Paper - Research Project Writing: Dissertation Writing
Email address - hinaparmar612@gmail.com
Submitted to - Smt.S.B. Gardi Department of English M.K.B.U.
Date of submission - 26 April 2024
Conclusion -
Ekphrasis, the literary device that bridges the gap between visual art and written words, has proven to be a captivating tradition throughout history. Writers have used ekphrasis to breathe life into static artworks, inviting readers to experience them through vivid descriptions. The three novels explored in this dissertation - ‘The Goldfinch’ by Donna Tartt, ‘Girl with a Pearl Earring’ by Tracy Chevalier, and ‘The Picture of Dorian Gray’ by Oscar Wilde - showcase the versatility and depth of ekphrasis.
In ‘The Goldfinch,’ Tartt uses the description of a 17th century Dutch painting to drive the entire narrative forward. The small masterpiece becomes a guiding force in Theo's life, shaping his journey of grief, self-discovery, and brushes with the art underworld. Ekphrasis here proves to be transformative for both character and plot. Chevalier's ‘Girl with a Pearl Earring’ takes inspiration directly from Vermeer's enigmatic painting of the same name. Through vivid descriptions, Chevalier invites us into the Dutch Golden Age, imagining the story behind the girl's serene gaze. Ekphrasis allows the author to bridge the gap between the present and the past world captured in the artwork. Finally, in "The Picture of Dorian Gray," Wilde uses ekphrastic descriptions of the haunting portrait to explore complex themes surrounding art, beauty, morality, and human nature itself. The painting acts as a mirror reflecting the consequences of Dorian's choices and desires. Ekphrasis proves to be more than mere description - it is a narrative device probing philosophical depths.
Through these novels, one witnesses how ekphrasis transcends its role as a literary technique. It becomes a gateway for exploring the human experience - one's relationship with art, the depths of creativity and emotion, and the eternal quest for meaning and truth. With each vivid description, authors beckon to transcend the bounds of one's perceptions, ultimately enriching one's appreciation for art's transformative power.
As this dissertation delves into these ekphrasis-driven narratives, it reminds that the intersection of visual and literary art holds profound significance. When writers give voice to silent canvases through language's vibrant tapestry, something magical occurs - static artworks are imbued with new life, new stories, and new realms to explore the essence of one's shared humanity.
Ekphrasis has proven to be a rich and dynamic literary device that bridges the realms of visual art and verbal expression. The articles in this literature review have demonstrated the evolution and diverse applications of ekphrasis across genres, time periods, and mediums. One key justification for the enduring relevance of ekphrasis is its ability to recontextualize and offer new perspectives on visual artworks (Brosch, Hartmann). By vividly describing art through words, writers can challenge conventional interpretations, spark contemporary reflections, and reignite cultural interest in forgotten or overlooked pieces. This "defamiliarization" transforms readers from passive viewers into active participants, fostering a deeper engagement with the artwork.
Furthermore, ekphrasis has proven invaluable in bridging different modes of expression and fostering interdisciplinary dialogue (Karastathi, Semerenko & Pushchair). By translating visual representations into verbal form, ekphrasis facilitates the exchange of ideas between literature, art history, and other fields, enriching one's understanding of both art and communication.
The expansion of ekphrasis into narrative fiction and prose is particularly compelling, as it demonstrates the versatility of the literary device and its potential to enhance storytelling. As exemplified in the case studies, ekphrastic descriptions can deepen characterization, explore psychological depths, and even serve as critiques of artistic movements or societal biases. Moreover, the emergence of digital media has opened up new frontiers for ekphrasis (Hartmann, Jansson). By embracing interactive and multisensory elements, digital ekphrasis can create immersive experiences that transcend traditional forms, fostering innovative modes of artistic expression and audience engagement.
“Caring too much for objects can destroy you. Only - if you care for a thing enough, it takes on a life of its own, doesn’t it? And isn’t the whole point of things - beautiful things - that they connect you to some larger beauty?” (Donna Tartt, The Goldfinch)
The power of ekphrasis to blur these boundaries and reveal deeper truths also manifests in more contemporary novels that place visual artworks at the center of their narratives. Donna Tartt's ‘The Goldfinch’ and Tracy Chevalier's ‘Girl with a Pearl Earring’ demonstrate how ekphrastic writing can imbue inanimate art objects with profound symbolic significance and transformative impact on the lives of the characters who encounter them.
In ‘The Goldfinch’, Tartt constructs an intricate web of thematic storytelling around the legacy of the titular 17th century painting by Carel Fabritius. Throughout the novel, the small portrait of a chained goldfinch perched upon a plain background takes on monumental personal meaning for the narrator, Theodore Decker. After tragically obtaining possession of the artwork amidst the chaos of a terrorist attack, ‘The Goldfinch’ masterpiece comes to embody Theodore's profound sense of loss, guilt, and yearning for connection in the wake of his mother's death and his turbulent youth. Tartt employs vivid, psychologically rich metaphors to breathe life into the seemingly simple yet enigmatic portrait. Through Theodore's eyes, the reader gains an intimate appreciation for the painting's exquisite details - the downy feathers meticulously rendered, the tiny chain shackled to the finch's foot, and the way the light plays across the creature's form. Tartt imbues the visual art with a metaphysical weight and emotional resonance that transcends its physical being as a canvas smeared with pigments.
While the artwork itself remains static and inanimate, Tartt's ekphrastic writing animates ‘The Goldfinch’ with vibrant meaning that shifts in parallel with Theodore's psychological odyssey. At various junctures, the painting represents different symbolic needs for the haunted narrator – a talisman connecting him to lost innocence, a friend offering solace amidst chaos, a guilty burden, an obsession fueling his compulsions. ‘The Goldfinch’ itself becomes as dynamic a "character" as any living, breathing person in the book through the transformative power of ekphrasis.
“He saw things in a way that others did not, so that a city I had lived in all my life seemed a different place, so that a woman became beautiful with the light on her face.”
― Tracy Chevalier, ‘Girl with a Pearl Earring’
A similar effect occurs in Tracy Chevalier's historical novel ‘Girl with a Pearl Earring’, which constructs a fictionalized personal narrative around the genesis of Johannes Vermeer's iconic painting of the same name. While plot details differ from Tartt's contemporary drama, both authors employ ekphrastic storytelling as a means of animating and giving voice to visually captivating yet inherently mute artworks. In Chevalier's novel, the everyday household maid Griet becomes transfixed by Vermeer's creative vision as she serves as an assistant in his studio. Through exquisitely crafted descriptions offering a simulated glimpse into the Dutch master's process, Chevalier illustrates the alchemical act of Vermeer transforming Griet from a regular person of low social standing into an immortal figure of enigmatic beauty through the magic of his paintbrush.
As with ‘The Goldfinch’, ekphrasis allows Chevalier to bridge the divide between the static visual art and the dynamic realm of human experience reflected in its creation. The reader experiences Griet's mixture of discomfort and abstract fascination as Vermeer meticulously observes and captures the curve of her shoulders, the texture of her skin, and the way her eyes meet the painter's gaze in fleeting moments where muse and artist seem to connect on a deeper plane. While the real-life inspiration behind the ‘Girl with a Pearl Earring’ artwork remains shrouded in mystery centuries later, Chevalier's vivid descriptions and psychologically rich narration make palpable the symbiotic relationship forged between a human subject and the evocative visual art such a subject inspires. The visceral, living essence of Vermeer's technique and perspective as an artist is channeled through the rich ekphrastic prose.
Across these seminal literary works - from the decadent philosophical conundrums of Wilde's Gothic tale to the sumptuous historical embroidering of Chevalier's fictionalized portrait of Vermeer - the literary device of ekphrasis shines as a powerful method of transcending the inherent limitations of language and static imagery. By breathing narrative vitality into treasured visual artworks through vivid, psychologically textured description, these authors lend silent canvases a vibrant voice to speak to greater human truths. Ekphrasis serves as an alchemical binding agent between the realms of literature and visual art, forging new dynamic wholes where the sum becomes exponentially greater than the parts.
“Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are cultivated. For these there is hope. They are the elect to whom beautiful things mean only Beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.”
― Oscar Wilde, ‘The Picture of Dorian Gray’
The literary device of ekphrasis - the vivid description of a visual work of art through written words - proves to be a powerful narrative technique employed across multiple renowned novels. In Oscar Wilde's seminal work The Picture of Dorian Gray, the author employs ekphrastic elements to profound and innovative effect. The painted portrait of the titular character evolves into a dynamic force that transcends its role as a symbolic object to become a driving narrative presence. As critic John Paul Riquelme articulates,
"Each character, the painting also being considered a character, stands for different things throughout the narrative."
Wilde harnesses the ekphrastic interplay between Dorian Gray and his metamorphosing likeness to explore philosophical themes of beauty, morality, and the paradoxical immortality of art contrasted with human transience. The portrait becomes an amorphous allegory for the aestheticist worldview that Wilde both celebrates and critiques. By blurring the boundaries between reality and artistic illusion through ekphrasis, the author produces a timeless masterwork that solidified his artistry and cultural influence. The painted portrait of the titular character transcends its role as a mere symbolic object, evolving into a dynamic force that propels the narrative and embodies the novel's central conflicts and themes.
Initially, the portrait serves as an ekphrastic manifestation of Dorian Gray's obsession with eternal youth and beauty. Upon seeing Basil Hallward's finalized work, Dorian expresses his fateful desire:
"If it were I who was to always be young, and the picture that was to grow old! For that - for that I would give everything! I would give my soul for that!"
This exchange between art and subject becomes the catalyst for the novel's supernatural conceit, wherein Dorian's immoral actions and moral decay become embodied by the portrait's metamorphosing appearance, while his own physical being remains unblemished. As the narrative unfolds, Wilde harnesses the ekphrastic interplay between Dorian and his portrait as a vehicle to explore complex philosophical concepts. The novel invokes a "decadent ekphrasis" that critiques the perils of aestheticism by depicting how the objectification of humanity through an artistic lens can lead to tragedy, as exemplified by Dorian's downfall as a "martyr" of this lifestyle. Simultaneously, the portrait emerges as a multi-layered symbol representing art's transcendent power and potential immortality when contrasted with human mortality and vice.
Ekphrasis enables Wilde to blur the lines between reality and illusion, art and life. Dorian's obsession with the portrait represents an "ekphrastic fear" - the imaginary desire of art to supersede reality. Yet in crafting the portrait as an amorphous, almost sentient force, Wilde undermines the notion of authenticity residing solely within the artwork or its subject. The portrait's shifting essence defies static representation, leading to Dorian's existential unraveling as the boundaries collapse between his identity and the parasitic artwork.
By weaving ekphrastic elements so intricately into the novel's fabric, Wilde seamlessly melds verbal and visual artistry. Descriptions of the portrait evoke a vivid "vividness" or enargeia that lends the artwork a palpable presence. Yet Wilde also toys with the limitations of language itself, as the very act of describing visual art through textual means creates a layered, "multi-dimensional model of representation." ‘The Picture of Dorian Gray’ becomes an innovative exploration of the tensions and intersections between different modes of creative expression.
Ultimately, Wilde employs ekphrasis not merely as an artistic exercise, but as a profound method of philosophical inquiry. Through Basil Hallward's portrait, the author constructs an amorphous allegory that transcends its representational form. The character of Dorian Gray becomes inextricably entwined with his shifting likeness, forging an ekphrastic discourse on the paradoxical duality of art – its ability to capture idealized beauty while also mirroring harsh human truths. In subverting traditional ekphrastic dynamics, Wilde both celebrates and critiques the aestheticist worldview, producing a timeless masterwork that solidified his artistry and influence.
Ekphrastic prose literature, which vividly describes visual art within literary works, has had a significant impact on various forms of media, including movies and digital social media platforms. In the realm of cinema, ekphrastic novels have served as inspiration for filmmakers, who adapt the vivid descriptions of artworks into visual representations on the big screen. For example, the novel ‘Girl with a Pearl Earring’ by Tracy Chevalier, which employs ekphrasis to bring Vermeer's famous painting to life, was adapted into a critically acclaimed film in 2003, directed by Peter Webber. The movie successfully translated the novel's rich descriptions of the Dutch Golden Age and Vermeer's artistic process into a visually stunning cinematic experience.
Similarly, social media platforms have become a canvas for ekphrastic expressions. With the rise of image-sharing platforms like Instagram and Twitter, writers and poets have found new avenues to engage with visual art through their written words. Ekphrastic poetry and prose often accompany shared images of artworks, offering personal interpretations, emotional responses, and narratives inspired by the visual pieces. This digital ekphrasis allows for a collective appreciation and exploration of art, fostering dialogue and diverse perspectives within online communities.
Furthermore, ekphrastic literature has influenced the way visual content is presented and perceived on social media. Descriptive captions and narratives accompanying shared images have become increasingly prevalent, adding depth and context to the visual experience. This fusion of text and image mirrors the essence of ekphrasis, inviting viewers to engage with the artwork on multiple levels – visual and literary. In conclusion, ekphrastic prose literature has transcended its literary origins and influenced various forms of media, including movies and digital social platforms. It has provided a creative bridge between the visual and literary realms, allowing for a deeper appreciation and exploration of art through the power of words.
Ekphrasis, the art of using words to bring visual art to life, has thrived in poetry for centuries. But can this evocative technique maintain its relevance in prose literature, especially as the human world becomes increasingly dominated by multimedia experiences? The answer is a resounding yes. In fact, ekphrasis in prose has the potential to flourish in the coming years, offering unique opportunities for writers and readers alike.
One key advantage of ekphrasis in prose is its ability to create depth and intimacy with visual art. Unlike a physical painting or sculpture, an ekphrastic description can delve into the artwork's details, emotions, and symbolism. A writer can guide the reader's attention to subtle brushstrokes, hidden meanings, and the overall atmosphere the artwork evokes. This layered exploration allows readers to form a deeper connection with the art, fostering a more personal and lasting appreciation.
Furthermore, ekphrasis in prose can bridge the gap between different art forms. A writer can weave an ekphrastic description into a narrative, enriching the story's world-building and character development. Imagine a historical novel where a character contemplates a religious icon, revealing their inner struggles and beliefs. Or a science fiction story where a description of a futuristic cityscape foreshadows the plot's direction. By incorporating ekphrasis, prose literature can become a more versatile and immersive medium.
The rise of digital media also presents exciting opportunities for ekphrasis. Imagine an interactive novel where ekphrastic descriptions link to actual online museum collections or historical photographs. This interactive format can enhance reader engagement and provide a more holistic understanding of the artwork and its context.
However, the future of ekphrasis in prose is not without challenges. One hurdle lies in the competition from visual media itself. In a world saturated with images, can mere words compete with the immediacy of a photograph or video? This is where the writer's skill becomes paramount. Effective ekphrasis goes beyond mere description; it uses evocative language, figurative speech, and sensory details to create a multi-layered experience that rivals the visual.
Another challenge lies in the subjective nature of art interpretation. An ekphrastic description, by its very nature, reflects the writer's perspective. While this subjectivity can be enriching, it's crucial for writers to acknowledge the artwork's own historical and cultural context. Striking a balance between personal interpretation and artistic integrity will be key for successful ekphrasis. In conclusion, ekphrasis in prose literature has a bright future. Its ability to foster deeper connections with art, bridge creative boundaries, and adapt to new media makes it a valuable tool for writers. By overcoming the challenges of competing with visual media and embracing the power of subjective interpretation, ekphrasis can become a cornerstone of innovative and engaging prose in the years to come.
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