CREATE (TO) (v.)




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1 quotations


He that would rise to the Sublime must form an Idea of Something beyond all we have yet seen ; or which Art, or Nature has yet produc’d ; Painting, Such as when all the Excellencies of the several Masters are United, and their several Defects avoided.
The greatest Designers among the Moderns want much of that exquisite Beauty, in all the Several Characters, that is to be seen in the Antique ; the Airs of the Heads, even of
Rafaëlle himself, are Inferiour to what the Ancients have done ; and for Grace to some of Guido : the Colouring of Rubens and Van Dyck falls short of That of Titian, and Coreggio ; and the best Masters have Rarely Thought like Rafaëlle, or Compos’d like Rembrandt. Let us then imagine a Picture Design’d as the Laocoon, the Hercules, the Apollo, the Venus, or any of these Miraculous remains of Antiquity : The Airs of Heads like what is to be found in the Statues, Busts, Bas-releifs, or Medals, or like some of those of Guido ; and Colour’d like the most Celebrated Colourists ; with the Lightest Pencil, and the most Proper to the Subject ; and all this Suitably Invented, and Compos’d ; Here would be a Picture ! Such a one a Painter should Imagine, and So set before him for Imitation.
Nor must he stop Here, but Create an Original Idea of Perfection. The Utmost that the Best Masters have done, is not to be suppos’d the Utmost ‘tis possible for Humane Nature to arrive at ;

term translated by FORMER in RICHARDSON, Jonathan, Traité de la Peinture, Par Mr. Richardson, le Père, Tomes I. et II. Contenant, Tome I. Un Essai sur la Théorie de la Peinture ; Tome II. Un Essai sur l'art de critiquer, en fait de Peinture ; & un Discours sur la Sience d'un Connoisseur. Traduit de l'Anglois; Revu & Corrigé par l'Auteur., trad. par RUTGERS, Antoine, Amsterdam, Herman Uytwerf, 1728, 2 vol., vol. I., p. 210-212.

Conceptual field(s)

CONCEPTS ESTHETIQUES → merveilleux et sublime
L’ARTISTE → apprentissage