EXPRESSION OF PASSIONS (expr.)

BEWEGING VAN DEN GEEST (nld.) · EXPRESSION (fra.) · EXPRESSION DES PASSIONS (fra.) · GEMÜTS-WIRCKUNG (deu.)
TERM USED AS TRANSLATIONS IN QUOTATION
EXPRESSION DES PASSIONS (fra.)
TERM USED IN EARLY TRANSLATIONS
EXPRESSION DES PASSIONS (fra.)
BLANC, Jan, Peindre et penser la peinture au XVIIe siècle : la théorie de l'art de Samuel van Hoogstraten, Berne, Peter Lang, 2008.
EBERT-SCHIFFERER, Sybille, « L'expression controlée des passions : le rôle de Poussin dans l'élaboration d'un art civilisé », dans BONFAIT, Olivier, FROMMEL, Christoph Luitpold et HOCHMANN, Michel (éd.), Poussin et Rome, Actes du colloque de Rome et Paris, Paris, Musée du Louvre Éd. - La Documentation française, 1996, p. 329-353.
HECK, Michèle-Caroline, Théorie et pratique de la peinture : Sandrart et la “Teutsche Academie”, Paris, Éd. de la Maison des sciences de l’homme, 2006.
HECK, Michèle-Caroline, « EXPRESSION / EXPRESSION DES PASSIONS », dans HECK, Michèle-Caroline (éd.), LexArt. Les mots de la peinture (France, Allemagne, Angleterre, Pays-Bas, 1600-1750) [édition anglaise, 2018], Montpellier, Presses Universitaires de la Méditerranée, 2018, p. 205-213.
HERDING, Klaus et STUMPFHAUS, Bernhard, Pathos, Affekt, Gefühl, die Emotionen in den Künsten, Berlin, Walter de Gruyter, 2004.
KIRCHNER, Thomas, L’expression des passions. Ausdruck als Darstellungsproblem in der französischen Kunst und Kunsttheorie des 17. und 18. Jahrhunderts, Mainz, Philipp von Zabern, 1991.
MICHEL, Christian et LICHTENSTEIN, Jacqueline (éd.), Conférences de l'Académie royale de peinture et de sculpture. Les conférences au temps de Guillet de Saint-Georges, 1682-1699, Paris, École nationale supérieure des Beaux-Arts, 2008, 6 tomes, tome II, 2 vol.
MICHEL, Christian, LICHTENSTEIN, Jacqueline et CASTEX, Jean-Gérald (éd.), Conférences de l'Académie royale de peinture et de sculpture. Les conférences, 1712-1746, Paris, École nationale supérieure des Beaux-Arts, 2010, 6 tomes, tome IV, 2 vol.
MICHEL, Christian, LICHTENSTEIN, Jacqueline, CASTEX, Jean-Gérald, CASTOR, Markus A. et GADY, Bénédicte (éd.), Conférences de l'Académie royale de peinture et de sculpture. Les conférences au temps de Jules Hardouin-Mansart, 1699-1711, Paris, École nationale supérieure des Beaux-Arts, 2009, 6 tomes, tome III.
MICHEL, Christian, LICHTENSTEIN, Jacqueline, CASTOR, Markus A., MARTIN, Marie-Pauline, PERRIN KHELISSA, Anne et LAZ, Laurens (éd.), Conférences de l'Académie royale de peinture et de sculpture. Les conférences, 1752-1792, Paris, École nationale supérieure des Beaux-Arts, 2015, 6 tomes, tome VI, 3 vol.
MICHEL, Christian, LICHTENSTEIN, Jacqueline, COUSSEAU, Henry-Claude et GAEHTGENS, Thomas W. (éd.), Conférences de l'Académie royale de peinture et de sculpture. Les conférences au temps d’Henry Testelin, 1648-1681, Paris, École nationale supérieure des Beaux-Arts, 2006, 6 tomes, tome I, 2 vol.
MICHEL, Christian, LICHTENSTEIN, Jacqueline, HAOUADEG, Karim, MARTIN, Marie-Pauline et PERRIN KHELISSA, Anne (éd.), Conférences de l'Académie royale de peinture et de sculpture. Les conférences au temps de Charles-Antoine Coypel, 1747-1752, Paris, École nationale supérieure des Beaux-Arts, 2012, 6 tomes, tome V, 2 vol.
MONTAGU, Jennifer, The Expression of the Passions, New Haven, Yale University Press, 1994.

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LINKED QUOTATIONS

2 sources
3 quotations

Quotation

Timantes, on the contrary [ndr : Parrhasius vient d’être évoqué], was of a sweet, modest Temper, and was Admirable in the Expression of Passions ; as appear’d by his Famous Picture of the Sacrifice of Iphigenia ; where he drew so many different sorts of Sorrow upon the Faces of the Spectators, according to the Concerns they had in that Tragical Piece of Religion, that being at last come to Represent Agamemnon’s Face, who was Father to the Virgin, he found himself Exhausted, and not able to reach the Excess of Grief that naturally must have been showed in his Countenance upon that Occasion ; and therefore he covered his Face with a part of his Garment ; saving thereby the Honour of his Art , and yet giving some Idea of the greatness of the Father’s Sorrow. His particular Talent lay, in giving more to understand by his Pictures, than was really express’d in them.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → expression des passions

Quotation

Friend,
 
            This puts me in mind of the moving part of Painting ; which is, the stirring of the Affections of the Spectator by the Expression of the Passions in the Piece ; and methinks this might well be called a part of Painting.
 
                        Traveller.
 
            It is Comprehended under that of Invention ; and is indeed the most difficult part of it, as depending intirely upon the Spirit and Genius of the Painter, who can express things no otherwise than as he conceives them, and from thence come the different Manners ;

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → expression des passions
SPECTATEUR → perception et regard

Quotation

Every Figure, and Animal must be affected in the Picture as one should suppose they Would, or Ought to be. And all the Expressions of the several Passions, and Sentiments must be made with regard to the Characters of the Persons moved in them. At the Raising of Lazarus, some may be allow’d to be made to hold something before their Noses, and this would be very just, to denote That Circumstance in the Story, the Time he had been dead ; but this is exceedingly improper in the laying our Lord in the Sepulchre, altho’ he had been dead much longer than he was ; however Pordenone has done it.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → expression des passions
CONCEPTS ESTHETIQUES → convenance, bienséance