Ekphrastic: Definition, Examples, Types & Techniques in Literature

Ekphrastic is a literary device in which a vivid description of a visual artwork—such as a painting, sculpture, or other visual medium—is used within a written work to enhance narrative depth and emotional resonance. Rooted in ancient Greek rhetoric, ekphrasis serves to bridge the gap between visual and verbal expression, allowing writers to evoke imagery, provoke reflection, and explore themes tied to the artwork.

This technique is significant in literature as it enriches storytelling by incorporating sensory detail and symbolic meaning, often deepening the reader’s engagement with the text. Ekphrastic writing can be found across various genres and periods, from Homer’s depiction of Achilles’ shield in The Iliad to modern poetry and prose that respond to contemporary art.

This discussion will explore the definition of ekphrasis, provide notable examples from literary history, examine its different types—such as descriptive, interpretive, and reflective ekphrasis—and analyze the techniques writers employ to effectively integrate visual art into their work.

What is the definition of Ekphrastic?

Ekphrastic is a literary device in which a vivid description of a visual artwork is used to enhance or expand the emotional or thematic depth of a literary work. The term typically refers to the rhetorical practice of verbally representing or responding to visual art. According to the Oxford English Dictionary, ekphrasis is “the literary description of works of art or the rhetorical presentation of a subject in vivid descriptive language.” Research from the University of Chicago highlights that ekphrastic writing often serves as a bridge between visual and verbal representation, enhancing intermedial dialogue (Heffernan, 2004).

How would you describe Ekphrastic in simple terms?

Ekphrastic is when a writer uses detailed words to describe a painting, sculpture, or other visual art in a story or poem. It helps readers imagine the artwork and feel the emotions connected to it. For example, if a poem talks about a statue and brings it to life with words, that’s ekphrastic.

What are the 5 examples for Ekphrastic?

1. John Keats – “Ode on a Grecian Urn”: This poem describes scenes on an ancient Greek urn to explore themes of time and beauty.
2. W. H. Auden – “Musée des Beaux Arts”: Auden references Pieter Bruegel’s painting “Landscape with the Fall of Icarus” to reflect on human suffering.
3. Ovid – “Metamorphoses”: In Book 6, Ovid includes ekphrastic descriptions of tapestries woven by the character Arachne.
4. Michael Onofri – “The Picture of Dorian Gray” by Oscar Wilde contains ekphrastic elements through the evolving portrait that reflects the protagonist’s soul.
5. William Carlos Williams – “The Dance”: Inspired by Pieter Bruegel’s “The Kermesse,” the poem captures the energy and movement of the painting in verse.

What are the synonyms & antonyms of Ekphrastic?

Where does the term “Ekphrastic” originate?

The term “ekphrastic” comes from the Greek words ek (out) and phrasis (speech or expression), meaning “to speak out” or “describe.” It was first used in ancient Greece to refer to the rhetorical technique of describing visual art in vivid language. The ancient Greek writer and teacher Quintilian defined ekphrasis as a form of rhetorical practice that brings the subject “vividly before the eyes” (Institutio Oratoria, Book VIII). The concept became prominent in classical literature and was later revived in the Renaissance and Romantic periods, especially by poets responding to classical and contemporary visual art.

What are the main types of Ekphrastic?

Ekphrastic poetry and prose can be categorized into several distinct types, each defined by its relationship to visual art. These include:

• Narrative Ekphrasis: The artwork inspires or frames a story. A classic example is “Ode on a Grecian Urn” by John Keats, where the speaker imagines the lives and stories behind the frozen scenes on the urn.
• Descriptive Ekphrasis: The literary work focuses on vividly describing a visual artwork. An example is W.H. Auden’s “Musée des Beaux Arts”, which describes Pieter Bruegel the Elder’s painting “Landscape with the Fall of Icarus”.
• Dialogic Ekphrasis: The text and artwork enter into a dialogue, often questioning or reinterpreting the image. Carol Ann Duffy’s “Standing Female Nude” (from her collection The Other Country) speaks from the perspective of a model in a painting, offering commentary on the male gaze and artistic representation.
• Imaginary Ekphrasis: The artwork described does not exist in reality but is invented by the writer to explore thematic or emotional concerns. Jorge Luis Borges often used this technique, as seen in his short story “The Aleph”, where a mystical object contains all images of the universe.

How do writers use Ekphrastic effectively?

Writers use ekphrastic to deepen emotional resonance, explore themes, and bridge the gap between visual and verbal expression. Effective use often involves:

• Creating Emotional Depth: Rainer Maria Rilke’s “Archaic Torso of Apollo” uses the description of a broken statue to explore themes of presence, power, and the necessity of transformation.
• Commenting on Art and Society: In “The Great Derangement”, Margaret Atwood uses ekphrastic moments to critique how art reflects or distorts reality, particularly in the context of climate change and consumerism.
• Personal and Cultural Reflection: Natasha Trethewey’s “Meditation on Red” from her collection Bellocq’s Ophelia explores racial identity and history through imagined portraits, blending personal narrative with visual art.
• Recontextualizing the Artwork: Anne Sexton’s “The Starry Night” reinterprets Vincent van Gogh’s painting as a personal meditation on death and transcendence.

What are the best techniques for implementing Ekphrastic?

To implement ekphrastic effectively in writing, consider the following techniques:

• Use Sensory Detail: Engage the reader’s senses to vividly recreate the visual artwork. For example, in “The Raft of the Medusa”, Myra Sklarew uses rich imagery to bring the painting to life and evoke its emotional weight.
• Inhabit the Perspective of a Figure: Writing from the point of view of someone or something in the artwork adds depth. In Anne Carson’s “The Glass Essay”, ekphrastic moments are used to explore emotional states through references to visual art.
• Ask Questions of the Artwork: Interrogate the image to uncover hidden narratives. W.H. Auden’s “Musée des Beaux Arts” questions the indifference of the world to suffering as depicted in Bruegel’s painting.
• Create a Dialogue Between Image and Text: Allow the text to respond to, challenge, or expand upon the image. In Derek Walcott’s “Midsummer”, ekphrastic reflections on Caribbean landscapes and European art intertwine to explore themes of colonialism and identity.
• Use Structure to Mirror Art: Mimic the composition or form of the artwork in the poem’s structure. For instance, George Herbert’s shaped poems reflect both the visual and thematic content of his work.

How to identify Ekphrastic?

Ekphrastic can be identified by several key characteristics and textual clues:

• Explicit Reference to a Work of Art: The text may name or describe a specific painting, sculpture, photograph, or other visual artwork. For example, in Keats’ “Ode on a Grecian Urn”, the urn is central to the poem’s structure and meaning.
• Rich Visual Description: The writing is filled with sensory and visual details that suggest the presence of a visual image. In Auden’s “Musée des Beaux Arts”, the description of the painting is detailed enough to evoke the scene.
• Reflection on Time or Permanence: Ekphrastic often explores the contrast between the static nature of art and the passage of time in life. This is evident in Rilke’s “Archaic Torso of Apollo”, where the statue’s endurance contrasts with human transience.
• Emotional or Thematic Response to the Art: The text goes beyond description to engage with the artwork emotionally or thematically. Sexton’s “The Starry Night” uses van Gogh’s painting as a springboard to discuss death and longing.
• Use of Second Person or Direct Address: The speaker may address the artwork directly, as in Keats’ “Thou still unravish’d bride of quietness,” suggesting a conversation between the text and the image.