PRINT (n.)

ESTAMPE (fra.) · GRAVURE (TYPOLOGIE) (fra.) · INTAGLIO (ita.) · PRENT (nld.) · STAMPA (ita.)
TERM USED AS TRANSLATIONS IN QUOTATION
ESTAMPE (fra.) · STAMPARE (ita.)
TERM USED IN EARLY TRANSLATIONS
ESTAMPE (fra.) · no translation available for this word
GRIFFITHS, Antony et GERARD, Robert A. (éd.), The Print in Stuart Britain, 1603-1689, cat. exp., London, British Museum, 1998, British Museum, 1998.
GRIFFITHS, Antony, « Early Mezzotint Publishing in England - II Peter Lely, Tompson and Browne », Print Quarterly, 7/2, 1990, p. 131-145 [En ligne : http://www.jstor.org/stable/41824560 consulté le 30/03/2018].
GRIFFITHS, Antony, « John Evelyn and the Print », dans HARRIS, Frances et HUNTER, Michael (éd.), John Evelyn and his Milieu, London, The British Library, 2003, p. 95-113.

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CONCEPTUAL FIELDS

LINKED QUOTATIONS

5 sources
9 quotations

Quotation

The foundation of Proportion consists in severall particular figures, by which I would have you enter your Drawings ; as the Circle, Ovall, Square, Trangle, Cilinder : Each of these have their effects. […].
{How to draw by Copyes.} Begin your Example, by a Copie
or Print, of those severall forms of figures ; as the Sun, full-Moon, […].
{Of severall members of the body.} Then, practise by severall members of the body ; in some
Print ; as the Eare, Eye, […].
{Head and shoulders.} The next is by a
Print, or Copy of a Head and shoulders of a Man or Woman, […].

copy

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → statut de l'oeuvre : copie, original...
L’ARTISTE → apprentissage

Quotation

{Most Pictures are Copied by Gravings.} Now, though we name these, as other Artizans, for draughts, and to be met with in Prints ; you must know that they were Painters, and for the most part, wrought their Pieces first, by designe, and draught, with blacke and white Chalkes in little ; […].
So shall you have, two or three, or more, severall Names oft-times, set to the
Print ; the Designer, the Painter, the Graver, and sometime the Printer. Our excelllent Artists in Graving are, Father Lambert, Hollar, Vaughan, Trevethen, Gay-wood, Crosse.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → statut de l'oeuvre : copie, original...
L’ARTISTE → qualités

Quotation

IX. To the former add good Copies, Patterns, and Examples of good Pictures, and other draughts, without which it is almost impossible, that the young Artist should ever attain to any perfection in this Art.
We have wholly pretermitted these for brevity sake, but those that desire to be furnished with any excellent Patterns, Copies or Prints, may have of all sorts, whether of humane shape, perspective design, Landskip, Fowls, Beasts, Fishes, Insects, Plants, Countries, or any other Artificial figures, exquisitely drawn, at very reasonable rates, [...].

Conceptual field(s)

L’ARTISTE → apprentissage

Quotation

Print.
Is the Impression of a Graven or Wooden Plate upon Paper or Silk, Representing some Piece that it has been Graved after.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → statut de l'oeuvre : copie, original...
PEINTURE, TABLEAU, IMAGE → définition de la gravure

Quotation

The several Manners of the Painters consequently are to be known, whether in Pictures, or Drawings ; as also those of the Gravers in Copper, or Wood, Etchers, or others by whom Prints are made, if we have a sufficient quantity of their Works to form our Judgments upon.

term translated by no translation available for this word 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. 62.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la gravure

Quotation

And as the Description of a Picture is a part of the History of the Master, a Copy, or a Print after such a one may be consider’d as a more Exact, and Perfect Description of it than can be given by Words ; These are of great Advantage, in giving us an Idea of the Manner of Think-of that Master, and this in proportion as such a Print, or Copy happens to be. And there is One Advantage which these have in This matter, which even the Works themselves have not ; And that is, In Those commonly their Other Qualities divert, and divide our Attention, and perhaps Sometimes Byass us in their favour throughout ;

term translated by ESTAMPE 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. 65.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → statut de l'oeuvre : copie, original...

Quotation

Prints whether Grav’d in Metal, or Wood, Etch’d or Mezzo-Tincto are a sort of Works done in such a Manner as is not so proper as that whereby Paintings, or Drawings are performed, it not being possible by It to make any thing so Excellent as in the Others. But This way of Working is Chosen upon Other Accounts, such as that thereby great Numbers are produced instead of One, so that the thing comes into Many hands ; and that at an Easy Price.
Of Prints there are two Kinds : Such as are done by the Masters themselves whose Invention the Work is ; and such as are done by Men not pretending to Invent, but only to Coppy (in Their way) Other men’s Works.
The Latter sort of Prints are always profess’d Coppies with respect to the Invention, Composition, Manner of Designing, Grace, and Greatness. But These Prints may be also Coppied as they frequently are, and to know what are So, and what are Orignals is by being well acquainted with the Hands of the Graver, or Etcher, who in This respect are the Masters, as the Painter from whom They Coppied were to them.

The Former Sort may again be Subdivised into three Kinds. I. Those they have done after a Painting of their Own. 2. Those done after a Drawing also done by Themselves, or Lastly what is Design’d upon the Plate, which has been Somtimes done especially in Etching. The Ist of these are Coppies after their Own Works ; and so may the 2d, or they may not, according as the Drawing they have made previously to it happens to be : but Both are so but in Part ; what is Thus done being a Different way of Working. But if it be Design’d on the Plate ‘tis a kind of Drawing (as the Others are) tho’ in a Manner Different from the rest, but ‘tis purely, and properly Original.

term translated by ESTAMPE 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. 105-107.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la gravure
PEINTURE, TABLEAU, IMAGE → statut de l'oeuvre : copie, original...

Quotation

The Excellence of a Print, as of a Drawing consists not particularly in the Handling ; This is but One, and even one of the Least considerable parts of it : ‘tis the Invention, the Grace, and Greatness, and those Principal things that in the first place are to be regarded. There is better Graving, a finer Burin in many Worthless Prints than in those of Marc Antonio, but those of Him that come after Raffaele are Generally more esteem’d than even those which are Grav’d by the Masters themselves ;

term translated by ESTAMPE 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. 107-108.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → statut de l'oeuvre : copie, original...

Quotation

Sometimes the Structure of a Picture, or the Tout-Ensemble of its Form, shall resemble dark Clouds on a Light Ground ; As in two Assumptions of the Virgin by Bolswert after Rubens ; indeed a part of These are such Clouds : But in both of them the Figures of these Masses are something too Indistinct. Le Brun in a Ceiling of the same Subject, grav’d, by young Simconneau, has put a Group of Angels, which almost hide the cloudy Voiture of the Virgin ; but this mass is too Regular, and Heavy a Shape. I refer you to Prints, because they are easy to be got, and explain This matter as well as Drawings, or Pictures, and in some Respects Better.

term translated by ESTAMPE 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. 98-99.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → statut de l'oeuvre : copie, original...