Leo Martínez
Ekphrasis, or the written description of a work of art, has inspired poetry and literature for centuries. From ancient Greece to the Romantic era, poets and writers have responded to visual art, creating a dialogue between word and image. This interplay of words and imagery offers fresh perspectives and expands upon the original artwork, bridging the gap between the visual and literary realms. In this topic, we will explore the concept of ekphrasis, its history, and its modern applications, as well as the challenges and benefits of including the image of the ekphrastic painting when presenting or publishing ekphrastic poetry.
| Characteristics | Values |
|---|---|
| Definition | A rhetorical device indicating the written description of a work of art |
| Origin | Ancient Greece |
| Etymology | From the Greek ἐκ ek and φράσις phrásis, 'out' and 'speak' respectively |
| Synonym | Ecphrasis |
| Notable examples | John Keats, "Ode on a Grecian Urn"; Rainer Maria Rilke, "Archaic Torso of Apollo"; W. H. Auden, "The Shield of Achilles" and "Musée des Beaux Arts"; William Carlos Williams, "Landscape with the Fall of Icarus" |
| Notable artists | Gabriele Tinti; Claude Esteban; Ernest Farrés; James Hoggard; Percy Bysshe Shelley; Anne Sexton; May Swenson |
| Notable works of art | Boxer at Rest; Discobolus; Arundel Head; Ludovisi Gaul; Victorious Youth; Farnese Hercules; Hercules by Scopas; Elgin Marbles from the Parthenon; Barberini Faun; Doryphoros; Pieter Brueghel's "The Landscape with the Fall of Icarus"; Bert Weir's paintings |
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What You'll Learn
Ekphrastic poetry as a literary device
Ekphrastic poetry is a literary device that involves creating a vivid, often dramatic, verbal description of a work of art, real or imagined. The term "ekphrasis" comes from the Greek words "ek", meaning "out", and "phrasis", meaning "to speak" or "declare". It is a way to explore the intersection between visual art and written expression, creating a dialogue between word and image.
Ekphrastic poetry has a rich history, originating in ancient Greece with poets like Homer and Hesiod, who engaged in vivid descriptions of art and mythical scenes. It gained prominence in the Hellenistic period and the Roman era, with notable examples from poets like Callimachus and Philostratus. In the Romantic era, ekphrastic poetry flourished once more, with John Keats' "Ode on a Grecian Urn" being a notable example. The poem is a description of a piece of pottery that the narrator finds evocative, creating a multi-cognitive journey for the reader.
Ekphrastic poetry can take various forms, including praise, critique, or imaginative reinterpretation of the artwork. The poet can explore emotions, themes, or symbolism conveyed by the visual piece. For instance, in "Landscape with the Fall of Icarus", William Carlos Williams reflects on the famous painting by Pieter Brueghel the Elder, offering an alternative interpretation of the artwork. Similarly, in "Girl with a Pearl Earring", Tracy Chevalier reimagines the life of the woman depicted in the famous painting by Johannes Vermeer.
Contemporary poets can find inspiration in museums or through digital creations, such as graphic designs or Instagram posts, to write ekphrastic poetry. There are no strict rules for writing ekphrastic poetry, but it is important to engage deeply with a piece of art that fascinates you and respond to it in your unique poetic voice.
Overall, ekphrastic poetry as a literary device allows for a rich exploration and appreciation of art through poetic expression, creating a dialogue between the visual and the linguistic.
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Ekphrasis in ancient texts
The term "ekphrasis" comes from the Greek words "ek", meaning "out", and "phrasis", meaning "speak" or declare. In ancient times, it was used more broadly to refer to the detailed and lively description of anything, person, or experience. Ancient ekphrastic writing can be useful evidence for art historians, especially for paintings, as very few original Greco-Roman examples survive.
One of the earliest examples of ekphrasis is found in Plato's "Phaedrus", where Socrates discusses writing and painting with Phaedrus under a plane tree. The fullest example of ekphrasis in antiquity is in Philostratus of Lemnos' "Eikones", which describes 64 pictures in a Neapolitan villa. Modern critics have debated whether these paintings were real or imagined.
Debates on ekphrasis date back to classical antiquity and Homer's description of Hephaestos making Achilles' shield in "The Iliad" (8th century BCE). Ekphrasis was considered a mode of speaking that brought absent things before the listener's inner eye, aiming for "enargeia", or vividness, in language.
During the Renaissance, ekphrasis was often employed by artists to enhance their visual and literary art. For example, Dante Gabriel Rossetti's "double-works" exemplify the use of the genre. In Renaissance Italy, Canto 33 of Ariosto's "Orlando Furioso" describes a picture gallery created by Merlin.
In the Middle Ages, ekphrasis was less frequently practised, especially regarding real objects. Historians of medieval art have noted that accounts of monastic chronicles often focus on the cost and weight of objects rather than providing detailed descriptions. However, ancient ekphrasis continued to have an influence during this period, for example, in the works of Geoffrey Chaucer.
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Ekphrastic poetry in the modern era
Ekphrastic poetry is a literary genre that involves poets responding to visual art, creating a dialogue between words and images. The term "ekphrasis" comes from the Greek words "ek", meaning "out", and "phrasis", meaning "speak" or "declare". It refers to the vivid and dramatic description of a work of art, either real or imagined.
In the modern era, ekphrastic poetry continues to be a popular form of expression. Poets such as Claude Esteban, Ernest Farrés, James Hoggard, and Gabriele Tinti have written ekphrastic poems inspired by the paintings of Edward Hopper, such as "Sun in an Empty Room" and "The Poetry of Solitude: A Tribute to Edward Hopper". Rainer Maria Rilke's "Archaic Torso of Apollo" and W. H. Auden's "The Shield of Achilles" are other examples of modern ekphrastic poetry. Additionally, contemporary poets are finding inspiration beyond traditional paintings or statues, exploring songs, films, and digital creations as sources for their ekphrastic poems. For instance, Camonghne Felix's "Badu Interviews Lamar" is an erasure poem based on an interview between Kendrick Lamar and Erykah Badu, while Aziza Barnes's "Got Jesus?" takes inspiration from a religious billboard.
The internet has expanded the possibilities for ekphrastic poetry, with poets drawing inspiration from online museum collections, graphic design images, and social media posts. For example, the February 2019 issue of the journal The Light Ekphrastic featured a collaboration between artist Katie Feild and poet .chisaraokwu, where Feild's animation "Ultima Kid Mitts" inspired .chisaraokwu's ekphrastic poem "A Blip & A Wrinkle".
Overall, ekphrastic poetry in the modern era continues to thrive and evolve, combining poetry and visual arts to create rich explorations of art through poetic expression.
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The challenges of writing ekphrastic poetry
Writing ekphrastic poetry comes with its own set of challenges. Here are some of the key difficulties that poets may encounter when crafting these unique forms of artistic expression:
Finding the Right Balance: One of the main challenges in writing ekphrastic poetry is finding the right balance between description and poetic expression. Ekphrastic poetry aims to vividly describe a scene or a work of art, but it should be more than just a mere description. Poets must ensure that their poem stands on its own as a creative work, while also providing enough descriptive context for readers to visualize the artwork being depicted.
Bridging the Gap Between Art Forms: Ekphrastic poetry exists at the intersection of visual art and written expression. Translating a visual image into words and bridging the gap between these two art forms can be challenging. Poets must find creative ways to use language to evoke the same emotions and ideas as the original artwork, which may be a painting, sculpture, photograph, or any other form of visual art.
Interpreting and Responding to the Artwork: When writing ekphrastic poetry, poets interpret and respond to the artwork through their own unique lens. This involves deep observation, research, and personal connection to the piece. Understanding the artist's intent, symbolism, and emotional depth can be challenging, especially when the artwork is open to multiple interpretations.
Incorporating Narrative and Reflection: Ekphrastic poetry often involves narrating and reflecting on the "action" of a painting or sculpture, amplifying and expanding its meaning. Poets may choose to adopt a narrative style, reimagining the artwork's intention or exploring the emotions, themes, or symbolism conveyed by the visual piece. This requires a deep understanding of the artwork and the ability to convey complex ideas through poetic language.
Engaging with the Artwork Intimately: To write effective ekphrastic poetry, poets must engage intimately with the artwork that serves as their muse. They must look beyond the surface and seek a personal connection with the piece. This process may involve studying the artist's life, understanding their techniques, and even incorporating "Easter eggs" or references to the artist's history.
Creating a Multi-Cognitive Journey: When writing ekphrastic poetry, poets create a multi-cognitive journey for themselves and their readers. They must consider not only the artwork itself but also how their own experiences, knowledge, and emotions influence their interpretation and response to the piece. This involves making cognitive connections and engaging with the art in new and unexpected ways.
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Examples of ekphrastic art
Ekphrasis, or the written description of a work of art, has been a source of inspiration for poets and writers for centuries. Here are some notable examples of ekphrastic art:
Ancient Examples
Ancient Greek poets such as Homer used ekphrasis in their works. In the "Iliad" (Book 18), Homer provides a detailed description of the Shield of Achilles, including images representative of the Cosmos and the inevitable fate of the city of Troy. This use of ekphrasis may have influenced the elaborately decorated serving dishes produced in 16th-century Mannerist metalwork.
Romantic Era and Pre-Raphaelite Poetry
During the Romantic era and among the pre-Raphaelite poets, ekphrastic poetry flourished. One notable example is John Keats' "Ode on a Grecian Urn", which is entirely dedicated to describing a piece of pottery that evokes strong emotions in the narrator. Keats' poem highlights the artistic potential of ekphrasis, as it showcases how a work of art can inspire and be interpreted through poetry.
20th-Century Poetry
In the 20th century, poets continued to find inspiration in visual art. Rainer Maria Rilke's "Archaic Torso of Apollo" and W. H. Auden's "The Shield of Achilles" (1952) are examples of ekphrastic poetry that engage with art in unique ways. Auden's poem, for instance, retells the episode in Homer's "Iliad" from a different perspective, showcasing how ekphrasis can be used to offer new interpretations of well-known works.
Contemporary Poetry
More recently, poets like Victoria Chang and Anne Sexton have created ekphrastic poems inspired by the paintings of Edward Hopper. Chang's "Edward Hopper Study: Hotel Room" interprets the emotions and narrative behind Hopper's artwork, while Sexton's poem on "The Starry Night" by Vincent van Gogh expresses her own emotional response to the painting, identifying with the artist's private demons.
Visual Art
While ekphrasis is commonly associated with poetry, it has also inspired visual artists. In the final decades of the 18th century, British artists William Martin and James Barry created paintings that depicted the same scene from Shakespeare's "Cymbeline." These works, "Iachimo in Imogen's Chamber" and "Iachimo Emerging from the Chest in Imogen's Chamber", respectively, offer a unique interpretation of the play, focusing on the character of Iachimo and his attempt to seduce Imogen.
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Frequently asked questions
An ekphrastic poem is a vivid description of a scene or, more commonly, a work of art. It is a literary form where poets respond to visual art, creating a dialogue between word and image.
Start by selecting a piece of visual art that inspires you. It could be a famous painting, a photograph, a sculpture, or any form of visual art that resonates with you emotionally or intellectually. Then, capture images, sounds, and rhythm using words and phrases without worrying about the form of the poem. Finally, revise and edit your poem to ensure it stands on its own.
Examples of ekphrastic poems include "Ode on a Grecian Urn" by John Keats, "Musée des Beaux Arts" by W.H. Auden, and "The Plague Doctor" by an unknown author.
