NEALKES ( IIIe siècle av. J.-C. )

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Sculpteur de l'Antiquité grecque

Quotation

De bysondere fortuyne der Konstenaeren dient eyndelick tot besluyt van het ghene wy tot noch toe geseyt hebben; aengesien de vaerdighe toegheneyghtheyd onser Konst-lievende nature, de sorghvuldigheyt van goede Ouders en trouwe Meesters, de vreese van strenghe wetten, des naeryverslust, de eenvoudigheyt en soetigheyd deser Konsten, als oock alle d’andere voorgaende middelen sonder de bysondere fruyne der Konstenaeren seer weynich vermoghen. Dient ondertusschen aenghemerckt, dat wy alhier niet en spreken van dat blindt gheval ’t welck den Hond van Protogenes en ’t Paerd van Nealces door ’t behulp van een onverduldighe korselheyd volmaeckt heeft; maer van die fortuyne, de welcke den Konstenaer als haer eenigh dierbaer troetel-kind gunstighlick omhelst en by der hand neemt, om hem in de kennisse van groote Koninghen en maghtighe Princen te brenghen. (…) Alhoewel het dan blijckelick is dat de bysondere Fortuyne der Konstenaeren een sonderlingher ghewight heeft, nochtans moghen wy niet dencken dat de gantsche Fame der Konstenaeren maer alleen aen de Fortuyne hangt; want het immers vereyscht wordt dat sich den Konstenaer door ’t eene of ’t andere werck soude bekent maecken, eer hy de goede gunste van d’allergheringhste Liefhebbers kan verwerven.

Quotation

De bysondere fortuyne der Konstenaeren dient eyndelick tot besluyt van het ghene wy tot noch toe geseyt hebben; aengesien de vaerdighe toegheneyghtheyd onser Konst-lievende nature, de sorghvuldigheyt van goede Ouders en trouwe Meesters, de vreese van strenghe wetten, des naeryverslust, de eenvoudigheyt en soetigheyd deser Konsten, als oock alle d’andere voorgaende middelen sonder de bysondere fruyne der Konstenaeren seer weynich vermoghen. Dient ondertusschen aenghemerckt, dat wy alhier niet en spreken van dat blindt gheval ’t welck den Hond van Protogenes en ’t Paerd van Nealces door ’t behulp van een onverduldighe korselheyd volmaeckt heeft; maer van die fortuyne, de welcke den Konstenaer als haer eenigh dierbaer troetel-kind gunstighlick omhelst en by der hand neemt, om hem in de kennisse van groote Koninghen en maghtighe Princen te brenghen. (…) Alhoewel het dan blijckelick is dat de bysondere Fortuyne der Konstenaeren een sonderlingher ghewight heeft, nochtans moghen wy niet dencken dat de gantsche Fame der Konstenaeren maer alleen aen de Fortuyne hangt; want het immers vereyscht wordt dat sich den Konstenaer door ’t eene of ’t andere werck soude bekent maecken, eer hy de goede gunste van d’allergheringhste Liefhebbers kan verwerven.

Quotation

69 Nealces, een van de oude vermaerde,
Was in der Inventy constich ervaren, {Merckt hier Exempel van vernuft, om Riviere oft plaets uyt te beelden.}
Ghelijck hy metten Pinceel openbaerde,
Eenen stant te schepe makende, daer de
Persianen teghen d’Egyptenaren
Op Nilus Riviere strijdende waren,
Waer quelde, verleghen zijnde een wijle,
Om uyt te beelden t’water van den Nijle.

Quotation

Traveller.
            Invention
is the Manner of Expressing that Fable and Story which the Painter has chosen for the Subject of his Piece ; and may principally be divided into Order and Decorum. By the first, the Painter places the parts of his Subject properly, so as the Spectator may imagine that the thing did not happen otherwise than as it is there Represented ; [...] But if your Subject be such as constrains you to a Multitude, such as the Representation of a Battle, or of the Last Day of Judgement, then you are likewise dispensed from that great Care of Finishing ; but must chiefly study Union, and the disposing of your Lights and Shadows. The Painter must also take Care, that his Scene be known by his Piece at first view, by some Ingenious Invention to express the Countrey : Such was that of Nealces a Greek Painter, who having Drawn a Sea-Fight between the Ægyptians and the Persians ; to express, that the Action happened at the Mouth of the Nile, made an Ass drinking by the side of the River, and a Crocodile ready to devour him ; that being the proper Animal of that River.
           
The second part of Invention is Decorum ; that is, that there be nothing Absurd nor Discordant in the Piece :

Quotation

{In welchen Studen jeder von den Alten oder antichen bäst qualificirt gewesen.} Es ist dieses bey unserer Kunst gewöhnlich/ auch so wol an den antichen/ als modernen/ zu ersehen/ daß der eine in einem/ der andere in etwas anders/ die wenigsten in allem/ excelliret und Meister gewesen. {Die Griechen.} Dann Apollodorus legte sonderlich der Schönheit zu. Zeuxis machte zu große Köpfe/ ware aber ein künstlicher Obst-Mahler. Eumarus gewöhnte sich/ alles nach dem Leben nachzubilden. Protogenes konte erstlich nur Schiffe mahlen. Apelles war in allem zierlich. Parrhasius ware gut in seinen Umrißen; Daemon, reich von invention; Timanthes verständig in allen seinen Werken/ auch immer verborgenen Sinns und Meinung; Pamphilus, gelehrt; Nicomachus, geschwind; Athenion, tieffsinnig; Nicophanes, sauber und nett; Amulius schön mit Farben; Pausias, munter in Bildung der Kinder und Blumen; Asclepidorius gut in dem messen und in den proportionen; Amphion, von Anordnung, Serapio, vernünftig in großen; Pireikus, in kleinen Sachen; Antiphilus in klein- und großen ; Dyonisius, konte nur Menschen mahlen; Euphranor, alles; Nicias, Thiere/ besonderlich Hunde. Nicophanes, konte wol nach-copiren/ und war in seinen Werken sauber; Mechophanes zu rauh in den Farben; Nealces, gut im ausbilden; Aristides, in affecte ; Clesides, nach dem Leben ; Ludius, in Landschaften.

Quotation

Traveller.
            Invention
is the Manner of Expressing that Fable and Story which the Painter has chosen for the Subject of his Piece ; and may principally be divided into Order and Decorum. By the first, the Painter places the parts of his Subject properly, so as the Spectator may imagine that the thing did not happen otherwise than as it is there Represented ; and so as the whole Content of the Story, though it imbrace never so many Figures, make but one BODY, Agreeing with its self in all its Parts.
For Example : Suppose a Painter to Represent the Story of the Jews gathering Manna in the Desart ; he must so order it, that the Persons employed in the Piece do all do the same thing, though in different Aptitudes ; and there must appear in their Countenances the same Joy and Desire of this Heavenly Food ; and besides, he must Represent a Countrey proper, and give his Figures their Draperies according to the Customs and Manners of the Nation he Represents : all this Raphael has done in this very Story : and indeed, that part of Invention was so great in him, that he seldom Designed a Story in his first SCHIZZOS, that he did not do it four or five several ways, to choose at last the best. But to do this, a Painter, besides a Fanciful, Flourisihing Genius of his own, must help himself by reading both History and Fable, and Conversing with Poets and Men of Learning ; but above all, the Painter must have a care that he pitch not upon such an Invention as is beyond his Forces to perform.
Some Observations there are about the Number of Figures fit to be employed in an Historical Piece. Hannibal Carrache was of Opinion, that a Piece that contained above twelve Figures, could never be free from Confusion ; and the Reason that he used to give, was ; first, That he thought that no Piece could be well with more than three great Gruppos, or Knots of Figures : And Secondly, That that Silence and Majesty which is necessary in Painting, is lost in that Multitude and Croud of Figures. But if your Subject be such as constrains you to a Multitude, such as the Representation of a Battle, or of the Last Day of Judgement, then you are likewise dispensed from that great Care of Finishing ; but must chiefly study Union, and the disposing of your Lights and Shadows. The Painter must also take Care, that his Scene be known by his Piece at first view, by some Ingenious Invention to express the Countrey : Such was that of Nealces a Greek Painter, who having Drawn a Sea-Fight between the Ægyptians and the Persians ; to express, that the Action happened at the Mouth of the Nile, made an Ass drinking by the side of the River, and a Crocodile ready to devour him ; that being the proper Animal of that River.

Quotation

69 Nealces, een van de oude vermaerde,
Was in der Inventy constich ervaren, {Merckt hier Exempel van vernuft, om Riviere oft plaets uyt te beelden.}
Ghelijck hy metten Pinceel openbaerde,
Eenen stant te schepe makende, daer de
Persianen teghen d’Egyptenaren
Op Nilus Riviere strijdende waren,
Waer quelde, verleghen zijnde een wijle,
Om uyt te beelden t’water van den Nijle.

 
70 Het was hem onmoghelijck, om dieswille
Dat het Nijl en het Zee-water gheleken,
Soo heeft hy gheschildert een Crocodille,
Die scheen te loeren heymelijck al stille
Op eenen Esel die daer quam ghestreken
Op den watercant en hadde ghesteken
De muyl in de River met t’hooft ghesoncken
Ghelijck of hy daer uyt hadde ghedroncken.
 
71 Op dat yeghelijck lichtelijck toegheriede
Hoe dat dit Oorloghs ontmoeten toeginghe
Op de Rivier Nilus, alsulcx gheschiede,
Want dit is t’voedtsel en de plaetse, die de
Crocodillen begheeren sonderlinghe,
Sulcke Natuerlijcke beteyckeninghe,
Soo in Persoonen, Steden, als Rivieren,
Gheven onse dinghen een schoon vercieren.

Quotation

Some Observations there are about the Number of Figures fit to be employed in an Historical Piece. Hannibal Carrache was of Opinion, that a Piece that contained above twelve Figures, could never be free from Confusion ; and the Reason that he used to give, was ; first, That he thought that no Piece could be well with more than three great Gruppos, or Knots of Figures : And Secondly, That that Silence and Majesty which is necessary in Painting, is lost in that Multitude and Croud of Figures. But if your Subject be such as constrains you to a Multitude, such as the Representation of a Battle, or of the Last Day of Judgement, then you are likewise dispensed from that great Care of Finishing ; but must chiefly study Union, and the disposing of your Lights and Shadows. The Painter must also take Care, that his Scene be known by his Piece at first view, by some Ingenious Invention to express the Countrey : Such was that of Nealces a Greek Painter, who having Drawn a Sea-Fight between the Ægyptians and the Persians ; to express, that the Action happened at the Mouth of the Nile, made an Ass drinking by the side of the River, and a Crocodile ready to devour him ; that being the proper Animal of that River.

Quotation

69 Nealces, een van de oude vermaerde,
Was in der Inventy constich ervaren, {Merckt hier Exempel van vernuft, om Riviere oft plaets uyt te beelden.}
Ghelijck hy metten Pinceel openbaerde,
Eenen stant te schepe makende, daer de
Persianen teghen d’Egyptenaren
Op Nilus Riviere strijdende waren,
Waer quelde, verleghen zijnde een wijle,
Om uyt te beelden t’water van den Nijle.

Quotation

De bysondere fortuyne der Konstenaeren dient eyndelick tot besluyt van het ghene wy tot noch toe geseyt hebben; aengesien de vaerdighe toegheneyghtheyd onser Konst-lievende nature, de sorghvuldigheyt van goede Ouders en trouwe Meesters, de vreese van strenghe wetten, des naeryverslust, de eenvoudigheyt en soetigheyd deser Konsten, als oock alle d’andere voorgaende middelen sonder de bysondere fruyne der Konstenaeren seer weynich vermoghen. Dient ondertusschen aenghemerckt, dat wy alhier niet en spreken van dat blindt gheval ’t welck den Hond van Protogenes en ’t Paerd van Nealces door ’t behulp van een onverduldighe korselheyd volmaeckt heeft; maer van die fortuyne, de welcke den Konstenaer als haer eenigh dierbaer troetel-kind gunstighlick omhelst en by der hand neemt, om hem in de kennisse van groote Koninghen en maghtighe Princen te brenghen. (…) Alhoewel het dan blijckelick is dat de bysondere Fortuyne der Konstenaeren een sonderlingher ghewight heeft, nochtans moghen wy niet dencken dat de gantsche Fame der Konstenaeren maer alleen aen de Fortuyne hangt; want het immers vereyscht wordt dat sich den Konstenaer door ’t eene of ’t andere werck soude bekent maecken, eer hy de goede gunste van d’allergheringhste Liefhebbers kan verwerven.

Quotation

{In welchen Studen jeder von den Alten oder antichen bäst qualificirt gewesen.} Es ist dieses bey unserer Kunst gewöhnlich/ auch so wol an den antichen/ als modernen/ zu ersehen/ daß der eine in einem/ der andere in etwas anders/ die wenigsten in allem/ excelliret und Meister gewesen. {Die Griechen.} Dann Apollodorus legte sonderlich der Schönheit zu. Zeuxis machte zu große Köpfe/ ware aber ein künstlicher Obst-Mahler. Eumarus gewöhnte sich/ alles nach dem Leben nachzubilden. Protogenes konte erstlich nur Schiffe mahlen. Apelles war in allem zierlich. Parrhasius ware gut in seinen Umrißen; Daemon, reich von invention; Timanthes verständig in allen seinen Werken/ auch immer verborgenen Sinns und Meinung; Pamphilus, gelehrt; Nicomachus, geschwind; Athenion, tieffsinnig; Nicophanes, sauber und nett; Amulius schön mit Farben; Pausias, munter in Bildung der Kinder und Blumen; Asclepidorius gut in dem messen und in den proportionen; Amphion, von Anordnung, Serapio, vernünftig in großen; Pireikus, in kleinen Sachen; Antiphilus in klein- und großen ; Dyonisius, konte nur Menschen mahlen; Euphranor, alles; Nicias, Thiere/ besonderlich Hunde. Nicophanes, konte wol nach-copiren/ und war in seinen Werken sauber; Mechophanes zu rauh in den Farben; Nealces, gut im ausbilden; Aristides, in affecte ; Clesides, nach dem Leben ; Ludius, in Landschaften.

Quotation

Traveller.
            Invention
is the Manner of Expressing that Fable and Story which the Painter has chosen for the Subject of his Piece ; and may principally be divided into Order and Decorum. By the first, the Painter places the parts of his Subject properly, so as the Spectator may imagine that the thing did not happen otherwise than as it is there Represented ; and so as the whole Content of the Story, though it imbrace never so many Figures, make but one BODY, Agreeing with its self in all its Parts.
For Example : Suppose a Painter to Represent the Story of the Jews gathering Manna in the Desart ; he must so order it, that the Persons employed in the Piece do all do the same thing, though in different Aptitudes ; and there must appear in their Countenances the same Joy and Desire of this Heavenly Food ; and besides, he must Represent a Countrey proper, and give his Figures their Draperies according to the Customs and Manners of the Nation he Represents : all this Raphael has done in this very Story : and indeed, that part of Invention was so great in him, that he seldom Designed a Story in his first SCHIZZOS, that he did not do it four or five several ways, to choose at last the best. But to do this, a Painter, besides a Fanciful, Flourisihing Genius of his own, must help himself by reading both History and Fable, and Conversing with Poets and Men of Learning ; but above all, the Painter must have a care that he pitch not upon such an Invention as is beyond his Forces to perform.
Some Observations there are about the Number of Figures fit to be employed in an Historical Piece. Hannibal Carrache was of Opinion, that a Piece that contained above twelve Figures, could never be free from Confusion ; and the Reason that he used to give, was ; first, That he thought that no Piece could be well with more than three great Gruppos, or Knots of Figures : And Secondly, That that Silence and Majesty which is necessary in Painting, is lost in that Multitude and Croud of Figures. But if your Subject be such as constrains you to a Multitude, such as the Representation of a Battle, or of the Last Day of Judgement, then you are likewise dispensed from that great Care of Finishing ; but must chiefly study Union, and the disposing of your Lights and Shadows. The Painter must also take Care, that his Scene be known by his Piece at first view, by some Ingenious Invention to express the Countrey : Such was that of Nealces a Greek Painter, who having Drawn a Sea-Fight between the Ægyptians and the Persians ; to express, that the Action happened at the Mouth of the Nile, made an Ass drinking by the side of the River, and a Crocodile ready to devour him ; that being the proper Animal of that River.

Quotation

Some Observations there are about the Number of Figures fit to be employed in an Historical Piece. Hannibal Carrache was of Opinion, that a Piece that contained above twelve Figures, could never be free from Confusion ; and the Reason that he used to give, was ; first, That he thought that no Piece could be well with more than three great Gruppos, or Knots of Figures : And Secondly, That that Silence and Majesty which is necessary in Painting, is lost in that Multitude and Croud of Figures. But if your Subject be such as constrains you to a Multitude, such as the Representation of a Battle, or of the Last Day of Judgement, then you are likewise dispensed from that great Care of Finishing ; but must chiefly study Union, and the disposing of your Lights and Shadows. The Painter must also take Care, that his Scene be known by his Piece at first view, by some Ingenious Invention to express the Countrey : Such was that of Nealces a Greek Painter, who having Drawn a Sea-Fight between the Ægyptians and the Persians ; to express, that the Action happened at the Mouth of the Nile, made an Ass drinking by the side of the River, and a Crocodile ready to devour him ; that being the proper Animal of that River.