[d'après NOLDUS 2008, p. 5-7:] ...je souhaite qu’ils se rassemblent, intrépides, et s’attaquent d’abord à l’élément le plus important des Arts, à savoir apprendre à bien poser une figure humaine.

Van Mander présente ici la figure humaine comme la partie la plus importante des arts. [MB]

[D'après NOLDUS 2008, p. 36:] 4 Ce Père de la Peinture est un parfait moyen pour exprimer des idées qui sans lui resteraient cachées, une remarquable façon de les clarifier, oui, l’instrument de la volonté qui s’efforce de capter dans ses traits, ses contours et ses formes tout ce qui se présente à notre vision dans le Monde qui nous entoure, Et en particulier la Figure humaine, cette magnifique création.

La figure humaine comme premier objet du dessin. [MB]

[D'après NOLDUS, p. 50-51:} 5 Pour planter une Figure en pied, (Comment planter une Figure.} nous pouvons tracer une ligne droite, comme un fil à plomb descendant de haut en bas. Elle sera, comme la corde d’un arc, une garantie contre une courbure excessive du corps et descendra sans écart de la fosse jugulaire au milieu de la cheville du pied qui porte le poids. Ainsi nous aurons construit une solide Figure sur pied. 6 En effet, voyez-vous, l’Homme et une Colonne {Comparaison d’un Homme à une Colonne.} sont comparables par la position verticale et la posture. Et puisque la tête, la partie la plus lourde du Corps, est soutenue par le tronc, il ocnvient que le pied soit mis dessous comme Base sur laquelle pèse la charge qui porte si droit la tête qu’en descendant on pourrait tracer une perpendiculaire entre les deux.

[D'après NOLDUS 2008, p. 51-52:] 9 Pour l’agrément, le pied libre et la jambe peuvent jouer vers l’avant. Cependant il y a un trait Naturel commun qui mérite attention, et cela non seulement pour l’Homme mais aussi pour les Quadrupèdes : le membre antérieur droit et le membre postérieur gauche doivent se lever ensemble, marcher et descendre. {Comment une Figure doit se mouvoir.} La même chose vaut pour les deux autres membres. 10 On voit l’Homme spontanément presenter une telle position dans l’action de courir ou de marcher, {Une attitude commune aux Hommes et aux Animaux dans la marche normale et la marche lente} lorsqu’il avance ou se met en posture d’arrêt. Dans notre métier, l’observation assidue de tout cela aussi bien pour les Enfants, les Hommes que les Femmes, couronne notre travail de bienséance : dans une Figure, nous ne devons pas faire advancer en même temps le bras et la jambe du même côté. 11 Il faut plutôt penser à l’alternance : {De l’application d’une position en croix dont les Maîtres anciens et modernes nous ont donné des exemples.} faire advancer le bras droit et faire reculer la jambe droite ; faire advancer la jambe gauche et par contre tirer le bras gauche en arrière sans excès, toujours en croix ; et que les Figures soient assises ou debout, ells doivent tourner le visage vers le bras qui avance.

[D'après NOLDUS 2008, p. 58:] 35 C’est aussi une des vertus de la Peinture de distinguer les modèles selon leur âge {À chaque figure, donner l’aspect conforme à sa nature ou à son âge.} et surtout de donner à la Jeunesse candide une propension à l’allégresse, la pétulance et la simplicité dans chaque action. Les postures de Femmes, peu habituées à l’effort, ne méritent pas d’être louées si elles montrent trop de force virile.

[D'après NOLDUS 2008, p. 62:] 6 Disposez votre peuple un peu librement, c’est plus beau. Ne laissez pas votre esprit s’égarer au point où vous faites les choses si grandes que mains et pieds touchent le cadre ou que les Figures soient à l’étroit et serrées, à cause des limites que la toile vous impose. {Que dans une petite pièce, il ne faut pas faire des figures trop grandes ou trop serrées.} Effacez, déplacez, selon ce que l’Art vous permet : vous êtes libre, ne faites pas de votre people des esclaves.

Beeldt est ici lié à la composition. [MB]

[D'après NOLDUS 2008, p. 66-67:] 21 Dans l’Histoire aussi, c’est capital, les Figures doivent être variées {De la grande diversité des Figures dans l’ordonnance.} selon les postures, modèles et activités statures, natures, essences et inclinaisons. Et comme nous parlions des sept directions quelques figures doivent s’avancer vers nous de l’une ou l’autre jambe, en marche ou au repos, d’autres sont vues de profil. 22 Certaines, vues de derrière, nous montrerons leurs talons, d’autres seront assises, couchées, accroupies, en train de ramper, grimper, descendre ou se lever ; parfois, quelques-unes sembleront tomber si cela convient, tandis que d’autres se faufileront furtivement ; certaines regarderont en haut, s’appuieront, s’écrouleront. Il est indispensable de bien pratiquee le mélange Entre figures habillées, mi-vêtues et nues. {Diversité des actions des Figures dans l’ordonnance, du mélange des Figures nues et habillées.}

Beeldt est ici lié à la composition. [MB]

[D'après NOLDUS 2008, p. 72:] 40 Pour rester en harmonie avec la nature des Arts nous devons, en représentant une Figure ou visage, selon les circonstances, faire en sorte que soit visible une autre Figure au fond, oui, même dans le cas {Qu’il faut faire attention aux Figures qui se trouvent derrière les figures principales de devant, si elles sont debout ou assises. Et que derrière un visage du premier plan, il faut en disposer un autre, plus foncé, pour que celui-ci serve de repoussoir au premier.} où une autre présence n’est pas indispensable car alors, on obtiendra que (par exemple dans une sombre écurie) la Figure ombrée du fond semble s’enfoncer tandis que notre figure de devant ressortira.

Beeldt est ici lié aux effets de profondeur et d’éminence. [MB]

[Suggested translation, Marije Osnabrugge:] …in regard to this, as this great Master had resolved to bequeath the inhabitants of Crotona an outstandingly beautiful female Image, he then did not find it wise to search for the complete perfection of the most graceful beauty in one body, but he has selected five of the most beautiful virgins, so that through earnest observation he would be able to find true beauty, which according to Lucianus {…} by necessity can only be one.

LUCIANUS DE SAMOSATE
ZEUXIS

Junius place art above nature, as one ‘beeldt’ (image) made by an artist can contain a collection of beautiful aspects from several natural things. It is not entirely clear whether the term should be translated as ‘image’ or as ‘sculpture’, the former would appear more appropriate, seen that Zeuxis was a painter. Indeed, the terms used in the Latin (forma) and English (choice patterne) edition are unambiguously pointing to ‘image’ as the best translation. [MO]

[Suggested translation, Marije Osnabrugge:] Let the Painting be an Image, he says {…}, of such a thing that is, or at least could be; namely of a man, a house, a ship and such things from which contour the Imitation can provide itself an example. As such the old then tend to embellish their rooms, their Galleries, their dining rooms with such Art, which is taken from certain natural things.

VITRUVIUS

Junius uses the word ‘schilderij’ (painting) for the physical object, whereas he uses ‘beeld’ (image) for the subject matter within the painting. [MO]

[proposition de traduction, Léonard Pouy:] Une bonne science de ce sujet [ndr. l’anatomie], nous donne l’avantage de bien connaître les muscles – où ils commencent et où ils terminent, comment ils se meuvent et comment, en se mouvant, ils changent leur apparence ; où ils s’enfoncent et où ils jaillissent, comment un corps devrait être divisé pour avoir de bonnes proportions. Cela peut nous apprendre à distinguer les figures masculines et féminines ainsi qu’à différencier les proportions des enfants de celles des adultes.

Beeld

IIII. Tout effet d’isocéphalie doit être évité, c’est-à-dire qu’il ne faut pas que les têtes situées dans la partie supérieure semblent situées sur une même ligne et aussi haut. Pour éviter cela, on doit faire en sorte que quelques figures se courbent, ou que des enfants, ou encore des femmes qui sont plus petits soient placés entre elles.

VII. L’on doit aussi éviter que les figures ne se tiennent seules, c’est-à-dire séparées les unes des autres, mais doivent être rassemblées les unes près des autres, de sorte à ce qu’elles puissent vivre entre elles et autour elles. Et si l’histoire n’exige pas plus qu’une figure, vous devrez veiller à la lier par l’accessoire.

[suggested translation, Marije Osnabrugge:] And although much depends on being able to understand the Art of Drawing, for which much Work and pondering is necessary, to learn the Art of Illumination; yet one should know that although this Art needs all this that she does; that still many beautiful things can be made in this art, without being very learned in the Art of Drawing: such as the Fruit pieces, Banquets, Birds, and all sorts of Foliage and Flowers which are especially pleasant to the Eye and offer enough material of changeability, also to make one’s good Mind and Knowledge – which one has – familiar with it and radiate an illustrious name. The difficult things, such as Figures, Compositions, Animals and Landscapes and the like, may be began by Young Men who either lean towards more Knowledge, or have it already, after everyone is led towards these other [ndr: things] by other elements of his ingenuity; it can moreover easily happen that some Spirited Young Ladies by practicing the small tasks of the Art, would get the desire – because of the success of their labour – to penetrate further into the general parts of this Art and thus become excellent.

The introduction to the English translation does not follow the text of the original. [MO]

[suggested translation, Marije Osnabrugge:] In the second period it is important to pay attention to the means that one should apply to obtain a glorious and great name: {2. Period to obtain a great name.} The Art of Painting (says Junius) is stimulated by honor as if by a real bate. As such the hope of obtaining an immortal name, has been the only objective of the old Famous Artists; knowing that if they could reach it, they would not be lacking any profit. There is no road to follow more closely to arriver there, than to make oneself Universal in the Art, and to say to be at home anywhere; {That one should try to be general in the Art.} as such one will learn to do everything. How often one sees that through the lack of this generality good Masters spoil their Paintings by adding something to it, which they do not master; As if, for example, a Painter of Figures makes Landscapes for his Histories that are not good, or composes Buildings and such against the proportional sizes and rules of perspective to it, and such, which the wise will readily understand: A Painter would not fall into these mistakes, if he understands the general sciences of all this. One could contradict this [by saying] that there are remedies to assist in this, {The counterargument of some.} and that one, as happens often, can have his pieces be drawn up by others, like for example, that a Painter of Figures has his perspectives drawn up by a Landscape Painter, or the Buildings by someone who understands Architecture and Perspective, et cetera: This is why a Landscape Painter can have his pieces be filled in by a Figure painter, as one calls it: As such there are often two, three or four Masters who have worked on a Painting. In this regard the experience has taught us, that the Figures in such works are often thrown in as if they had fallen in from the sky, or did not belong there. {Their mistake discovered.} Because oftentimes the idea of the Master nor the selection of the Day-light nor the appropriate deviation of the ground, the Perspective, yes the whole nature of the Landscape is not understood by those who fill in the picture; even less so that they would take it into consideration in their Figures: as such they arrive at making rather inappropriate Figures of a beautiful day for a gloomy Landscape and more of such mistakes, which strive against the truth of nature and the rules of the Art. I have often seen that Figures and Animals that had been made by the Landscape Painter himself, (however bad they may have been drawn) had been placed and painted much better in character with the Landscape than others that had been thrown in it by a good Master. {Contradicted by the experience of many cases.}

JUNIUS, Franciscus

[suggested translation, Marije Osnabrugge:] If someone truly deserves the name of great Master, and that his Works are judged to be filled with the true virtue of Art, and that they have all the necessities such as good Design and proportion, acceptable distribution of colors and harmony in them, that coincide with the location of the light, in which the objects are placed; and that the shadows and lights are appropriate, after the occasion in which they originate; and that furthermore all the Figures are placed and colored after the content of the History that one wants to portray; moreover that they produce their actions and passions carefully and naturally, which coincide with their whole pose; as such one may trust his Art, yet be humble of heart and social in interaction: {What pride often generates.} Because pride makes our enemies deceitful, to undermine our good name and fame with Lies and evil guiles; which can only be defeated by behaving oneself honorable with regard to the lesser Masters.

[BLANC J, 2006, p. 136-137] Notre entendement étant si obscur, poursuit-il, est-il possible de décrire ce qu'est la vraie beauté? [...] Dürer dit ailleurs que que les parties d'une figure doivent se correspondre des pieds à la tête, que cette figure soit rugeuse ou lisse, charnue ou maigre, afin qu'à tel endroit elle ne paraisse pas trop nourrie et tel autre affamée; que les bras ne doivent pas être minces ou les jambes épaisses, la poitrine pleine et les cuisses décharnées, la tête jeune et le corps âgé, etc. De plus, chaque âge doit avoir les parties qui lui conviennent. Un jeune homme doit être lisse, tendre et égal, un vieillard au contraire rugueux, inégal et maigre.

DÜRER, Albrecht

[BLANC J, 2006, p.137] Qui désire les louanges, dit-il plus loin, doit éviter la laideur dans ses figures. Autrement dit, il doit les épurer de tous les signes condamnables et ne rechercher que ce qui est sain et plaisant. Et pour cela, il veut que l'on contemple sur le vif de nombreux corps d'hommes et que l'on recueille les plus belles mesures. L'art, en effet est immergé dans la nature. Lorsque vous l'en aurez sorti, vous eviterez de nombreux errements dans vos oeuvres. Voici l'enseignement du grand Albrecht Dürer, dans son livre des proportions, avant que la mort, je crois, ne l'ait surpris alors qu'il préparait cet ouvrage.

VAN HOOGSTRATEN, Samuel, [Planche d’anatomie : les muscles], estampe, dans VAN HOOGSTRATEN, Samuel, Inleyding tot de hooge schoole der schilderkonst: anders de zichtbaere werelt, Verdeelt in negen Leerwinkels, yder bestiert door eene der ZANGGODINNEN. Ten hoogsten noodzakelijk, tot onderwijs, voor alle die deeze edele, vrye, en hooge Konst oeffenen, of met yver zoeken te leeren, of anders eenigzins beminnen, Rotterdam, François van Hoogstraten, 1678, p. 55.
VAN HOOGSTRATEN, Samuel, [Planche d’anatomie : les proportions chez la femme], estampe, dans VAN HOOGSTRATEN, Samuel, Inleyding tot de hooge schoole der schilderkonst: anders de zichtbaere werelt, Verdeelt in negen Leerwinkels, yder bestiert door eene der ZANGGODINNEN. Ten hoogsten noodzakelijk, tot onderwijs, voor alle die deeze edele, vrye, en hooge Konst oeffenen, of met yver zoeken te leeren, of anders eenigzins beminnen, Rotterdam, François van Hoogstraten, 1678, p. 60.
VAN HOOGSTRATEN, Samuel, [Planche d’anatomie : les proportions chez les enfants], estampe, dans VAN HOOGSTRATEN, Samuel, Inleyding tot de hooge schoole der schilderkonst: anders de zichtbaere werelt, Verdeelt in negen Leerwinkels, yder bestiert door eene der ZANGGODINNEN. Ten hoogsten noodzakelijk, tot onderwijs, voor alle die deeze edele, vrye, en hooge Konst oeffenen, of met yver zoeken te leeren, of anders eenigzins beminnen, Rotterdam, François van Hoogstraten, 1678, p. 62.
VAN HOOGSTRATEN, Samuel, [Planche d’anatomie : les proportions chez l'homme], estampe, dans VAN HOOGSTRATEN, Samuel, Inleyding tot de hooge schoole der schilderkonst: anders de zichtbaere werelt, Verdeelt in negen Leerwinkels, yder bestiert door eene der ZANGGODINNEN. Ten hoogsten noodzakelijk, tot onderwijs, voor alle die deeze edele, vrye, en hooge Konst oeffenen, of met yver zoeken te leeren, of anders eenigzins beminnen, Rotterdam, François van Hoogstraten, 1678, p. 58.

DÜRER, Albrecht

[suggested translation, Marije Osnabrugge:] As such some [ndr: painters] cannot cope too well that they want to prescribe precise rules to them, to learn to execute all the external and internal parts, in relation to the changing events of human actions and undertakings, yes to the expression of the passions and emotions even; In order for them to not only show painted, but also speaking, moving, working and thinking figures in their Paintings: and especially some of little vision cannot comprehend that one would want to present this from the Anatomy in the sense of the knowledge of dissection.

[suggested translation, Marije Osnabrugge:] The NECK then, on which the Head of a Man is standing, is somewhat Long in shape, to let the Head move freely back and forth on it like on an axis; And it stems from this freedom, that in the well composing of Figures the Head does not have to be directed to the side to which the Chest is directed: Because the Creator has shown it quite differently by the shaping of the Neck and its function. And because of this it poses a misunderstanding in Artistic Scenes when the Figures attest differently.

A rare example amongst the many descriptions of different body parts in which Goeree refers directly to artistic practice. [MO]

[suggested translation, Marije Osnabrugge:] On the Composition of Figures according to the Natural and incidental posture of movement in all sorts of Action. Let us proceed from the composition of the Face in specific to another important and common Part of the Anatomy; Namely to the Artful composition of the moving Posture of Working human Figures; And in that context point out to which degree the Figures can carry out appropriately and Naturally, all sorts of Doings and Actions of Standing, Going, Walking, Hauling, Carrying, Throwing and others, within a certain Line of Conduct and Weight and Counter-weight, without falling or showing an impossibility in their Action: So the Draughtsman or Painter who finds himself well-trained in this, has the tools at hand to conceive his Figures such in all sorts of occurrences and choices, to the purpose of the proposed action, that they will never appear to be against the Draught, nor against the possibility of the Action, with regard to the Creation and structure of the Limbs. And as this is one of the most important Chapters of the Art of Painting, as such it has not only concerned all Great and Wise Masters, to act wisely in this regard, but many have continuously urged their Pupils with diligence to pay close attention to it: And even more so when they were without the Instruction in Books, and Examples. Carel van Mander, who was a better Author and Speaker than Painter, said in his time that it were commendable, that someone designed an Instruction regarding the composition of Figures, subsequently the Working Selection of Action and the expression of Passions: And he said, I would have been inclined to do so myself, if I had found myself capable of it.

VAN MANDER, Carel

[suggested translation, Marije Osnabrugge:] Of the Actions and True movements of the Figures, and how one may show them according to the nature of the Events, while expressing all sorts of Passions and Emotions. A certain famous Painter was used to saying that those Figures that do not express their proper Actions and Passions to the intention of the Painter, nor the content of the History, are primed twice. {Because the Art-figures lack movement, one should make them obtain such through the Actions and posture.} Especially since it is known to all Artists, that the imitated Works, lack the true and Lively movement from their own character and Nature, as such it is not hard to understand that one should apply extra diligence in the Art of Painting, to also illustrate the Actions and Passions (that is the activity), besides the good and steady Draught and beautiful Proportion, in the Figures through practice; and as such improve that which they naturally lack. Because this is the Soul of the Art of Painting: And those Masters who excelled especially in this, also had the highest Rank.

[suggested translation, Marije Osnabrugge:] And although we know, that a Miser may easily dispute or deny that the arrangement of the Clothing belongs to the Anatomy as well; nevertheless we are of the opinion that the Creases, that is the Folds of the Drapery, for as far as it necessarily follows the changing Perspective of the Limbs, may not be completely excluded from this discourse. Because as it it certain, that one does not always make Naked, but also dressed Figures in the Art of Painting and Sculpting, as such all wise Masters have to take care that one perceives not only separate Clothes from which a Head and two Hands and Feet stick out, but also true Human figures in it. Those who want to be careful about this, tended to always sketch their Figures naked, and after they were well proportioned with regard to their Action, they draped the Clothing around it. And thus they could preserve the Limbs of their Figures through the Natural arrangement of the Folds, in their Draught, and show that there was a Man underneath the Clothing. The Daubers and Know-nothings on the other hand, believe it is enough, that one sees the Hands and Feet, and that the Head stick out from the Work of the Tailor. Truly such Figures are not unlike Dolls, which are Rags put together, a baked Face on its Chest and two Hands knitted to the Sleeves.

[suggested translation, Marije Osnabrugge:] But if we let all these Medical thoughts go; we have to learn from all that has been said, that there is a great difference between the movements that are made without the Will and with the Will; {Distinction between movements.} since in that which one wants, one usually has more ability, more diligent Action and Fury, than in the simple actions, which are often executed from the general Train of Thoughts outside our Thinking. Because of this an Artist should take care that – in the depiction and expression of the Actions and movements – that he provides his Figures with such Actions and movements, as coincides with the Will, Soul and Intention that he wants his Figures to have: So that he may show his own thoughts and those of his Figures to the Spectator through his art. And that everyone with his own considerations in mind, may complete those things for himself, which appear to be impossible for the art to add to the action of the Figures.

[translation: BEURS, en préparation, transl. Myra Scholz:] {About human figures} Human figures (to begin with them) should be painted first, whether in a room, a landscape, or some other place where people gather. {Rooms} In a room there is nothing wrong with painting last what is furthest away, receding in the distance. But in a landscape, after placing the human figures (included either for reasons of history or pleasure), one paints the sky, mountains, and grounds from the background to the foreground, and when this has been done, adorns each ground with its trees, castles, houses, gardens, etc., giving each object and ground the intensity or faintness corresponding to its nearness or distance, as perspective dictates. {Floral pieces} A painter of flowers can first paint the blossoms and leaves that appear in sunlight, then those in shadow, […] After that he can deal with the garden or landscape in a way that, in his judgment, is in keeping with the well-executed flowers (or fruits), which are his prime subject. {and sea pieces} In sea pieces one first lays in the sky and water, […]

[suggested translation, Marije Osnabrugge:] Furthermore, to point out in a nude what is a good contrast and from which a well-positioned figure derives his movement, or action. Because the solemnity, elegance and grace of a well-made body consists in an orderly and real positioning of the limbs. If I should say how I feel, I think the drawing after the life is of no value whatsoever, if this does not precede it: yes no more than the colouring without the art of drawing. Because of what use is the life, no matter how long we draw, if one does not have the power to position a figure well.

[D'après DE LAIRESSE, 1787, p. 61:] […] Puisque c’est d’après la clarte ou l’obscurité du ciel qu’il faut disposer toutes les autres parties, & régler toutes les teintes des objets : car la lumière de la ligne de terre & le ton de vigueur des figures doivent s’y rapporter.

[D'après DE LAIRESSE 1738, p.20:] But all these Passions together cannot produce a perfect Figure, without the Assistance of the Members […] But my principal intention is, to express these Passions by the Motion of the Members ; and to shew how each Member contributes towards them : As when the Body turns or winds, the Members stir, one advancing, another falling back ; one raised, others sinking

[D'après DE LAIRESSE 1787, p.178-179:] […] car chaque figure ne doit exprimer la passion qu’elle représente, en concourant toujours à l’expression générale; & pour cela il faut qu’elle soit placée à l’endroit convenable.

[D'après DE LAIRESSE 1787, p. 346:] Il est naturel que la lumière se fonde dans la lumière, & que les ombres se trouvent confondues dans les ombres. Les objets sombres conviennent donc le mieux sur un fond clair ; ainsi que les objets clairs sur un fond sombre pour qu’ils s’en détachent mieux ; car il faut observer ici le juste de gré qui convient à l’effet des figures, suivant que ces figures se trouvent placées sur le premier, sur le second ou sur le troisième plan [Pl.9)

[D'après DE LAIRESSE 1738, p. 453-454:] The different Stuffs are very proper to this on such Occasions, and they very much conduce to express the Matter ; as the Reflexion of ruffling Silk for waving Figures, and which are gently descending ; thin and fleazy silk, for swift and drown-flying Figures, and the most pliant or thick Silk and Stuff, for fitting, lying, or standing ones. The Secret and Importance of a fine and stirring Cieling-pieces lies chiefly herein. As for the making of coloured Stuffs of flying Figures, because they cannot be put on the Layman, and therefore not painted after the Life, we cannot lay down any Rules about them : Nothing but a good Conception and natural Judgment, joined to continual Practice and Observation, can bring the Artist to perform it. We must use these Means, and be perfect in them ; observing what Stuff is most proper to the Occasion, as we have before intimated.