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Behind the screen
Chloe Porter

medle no further then he can skyll of’. 32 Transferred to The Roaring Girl , the shoemaker merges into multiple spectators whose anonymity further emphasises the expertise of the playwright and players who ‘make’ the play. I noted in chapter 1 that the singular figure of the painter in the rhetoric of ut pictura poesis enables the metaphorical effacement of the collaborative

in Making and unmaking in early modern English drama
Jonathan Richardson’s ekphrastic ‘Dissertation’ on Poussin’s Tancred and Erminia
Jason Lawrence

need to consider the marked impact of recent European works on the nascent development of art criticism in England.1 Du Fresnoy’s poem opens with an acknowledgement of the classical paragone between the sibling arts of painting and poetry by alluding to Horace’s famous dictum directly: UT PICTURA POESIS ERIT; similisque Poesi Sit Pictura, refert par æmula quæq; sororem, Alternantque vices & nomina; muta Poesis Dicitur hæc, Pictura loquens solet illa vocari. (Painting and Poesy are two Sisters, which are so like in all things, that they mutually lend to each other

in Ekphrastic encounters
Abstract only
Edmund Waller, Andrew Marvell, and the advice-to-a-painter poem
Noelle Gallagher

broadsides, ultimately finding their way into homes, coffee houses, booksellers’ shops, and other public places. 15 As their title suggests, advice-to-a-painter poems invoked an ut pictura poesis tradition that aligned poetry with painting. 16 Focusing primarily on recent events and public persons, such works usually took their frame of reference from the style of emblematic

in Historical literatures
From Burke’s Philosophical Enquiry to British Romantic art
Author: Hélène Ibata

The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.

Jason Lawrence

Zampieri. 3 Unglaub has pondered why some later European painters drawn to Tasso’s poem studiously avoided depicting this specific moment, emphasising ‘the ekphrastic overdetermination of the garden scene’ and suggesting that ‘its pictorial representation could admit only the narrowest interpretation of ut pictura poesis ’, which thus encouraged certain artists to look

in Tasso’s art and afterlives
Ekphrastic encounters in Kyd’s The Spanish Tragedy
Richard Meek

modern encounters see Jean H. Hagstrum, The Sister Arts: The Tradition of Literary Pictorialism and English Poetry from Dryden to Gray (Chicago, IL: University of Chicago Press, 1958), pp. 66–70. See also Clark Hulse, The Rule of Art: Literature and Painting in the Renaissance (Chicago, IL and London: University of Chicago Press, 1990) and Christopher Braider, ‘The Paradoxical Sisterhood: “Ut Pictura Poesis”’, in Glyn P. Norton (ed.), The Cambridge History of Literary Criticism, Volume 3: The Renaissance (Cambridge: Cambridge University Press, 1999), pp. 168–75.  2

in Ekphrastic encounters
Raymond Pettibon’s drawing-writing
Tilo Reifenstein

perceptible objets d’art (ut pictura poesis)’, or Murray Krieger’s ‘the imitation in literature of a work of plastic art’, appears to always already imply an oppositionality between language and sensuous perceptibility and especially language and visuality/visibility.1 Implicitly, any of these definitions makes language a purely intellectual matter, forgoing the necessity of sensory perception: to hear words being spoken, to read – namely, to see – sentences being written, to feel the embossing of Braille cells. Literature and language in this sense are removed from any

in Ekphrastic encounters
Ekphrasis, readers, ‘iconotexts’
Claus Clüver

’s phrase, reinforced in the same year by W. J. T. Mitchell, reflected the traditional restriction of the objects of ekphrastic representation to visual representations of the phenomenal world in paintings, graphic works, or sculptures.5 The discourse was supported by the misconstrued Horatian phrase ut pictura poesis and the idea of the ‘sister arts’, buoyed by the ancient saying attributed to Simonides of Ceos that painting is silent poetry and poems, speaking pictures. Krieger had emphasized the contrasting view based on Leonardo da Vinci’s sense of a paragone among

in Ekphrastic encounters
Abstract only
To fasten words again to visible – and invisible – things
Catherine Gander and Sarah Garland

, prompting Morgan-Owens to interrogate the relation between reality and reflection. For Hawthorne, she argues, ‘photographs are metaphors, not evidence’, which nevertheless work to stave off the loss of the visual object. In the opening essay, Weingarden manoeuvres the ancient metaphor ut pictura poesis (as in painting, so in poetry) to consider architect Louis Sullivan’s work as ut poesis architectura – a project ‘premised on architecture’s emulation of both lyric poetry’s intensely subjective expression and its sister art of naturalistic landscape painting’. Blinder

in Mixed messages
Heiner Zimmermann

historiography. Denouncing the victory as unclean, she opposes the official glorification of the triumph and discredits patriotic self-sacrifice. In her sponsors' eyes, her representation is a revilement of the Republic of Venice. Barker’s play was originally conceived as a radio drama, so the painting, although omnipresent, is never seen.13 The dramatist, however, deploys a profusion of rhetorical and dramaturgical devices to make the audience see, hear, smell and touch the picture in their imagination. A talking sketchbook parodies the topos ut pictura poesis and the cliché

in Howard Barker’s Art of Theatre