HISTORISCHE INHOUD (expr.)

GESCHICHT-MALEREI (deu.) · HISTORICAL COMPOSURE (eng.) · INHALT (deu.) · SUBJECT (eng.) · SUJET (fra.)
TERM USED IN EARLY TRANSLATIONS
/ · ARGUMENT (eng.) · HISTORIA (lat.)

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2 quotations

Quotation

Soo namen dan d’oude Meesters dese vijf hoofd-stucken in haere Schilderyen op ’t aller nauste waer. I. Den Historischen inhoud, die veeltijds d’Inventie ofte oock ’t argument ghenaemt wordt. II. De ghelijck-maetigheyd, diemen doorgaens henen de Proportie, symmetrie, analogie, en harmonie noemt. III. De verwe ofte ’t Coleur; en daer in plaghten sy ’t licht en schaduwe, als oock ’t schijnsel en duysternisse naukeurighlick t’ onderscheyden. IV. Het leven; ’t welck in d’Actie en Passie bestaet, ofte (om duydelicker te spreken) in de bequame afbeeldinghe der eyghenschappen die men in de onroerende dingen verneemt, als oock in de levendighe uytdruckinghe der beweghinghen diemen in de roerende dinghen speurt, wanneer deselvighe yet merckelicks doen of lijden. V. De schickinghe, die men ghemeynlick de Dispositie ofte Ordinantie plaght te heeten.

[Suggested translation, Marije Osnabrugge:] As such the old Masters observed these five chief principles very closely in their Paintings. I. The Historical content, that is often called the Invention or also the argument. II. The uniformity, which one commonly calls the Proportion, symmetry, analogy and harmony. III. The colour or the colouring; and in this they tend to carefully distinguish the light and shadow, as well as the sheen and darkness. IV. The life; which exists in the Action and Passion, or (to speak more clearly) in the skilled depiction of the characteristics that one discerns in the unmovable things, as well as in the lively expression of the movements that one perceives in the movable things, when these do or suffer something considerable. V. The arrangement, that one commonly tends to call the Disposition or Ordinance.

inventie · argument

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → sujet et choix

Quotation

Den Historischen ofte den sede-vormenden inhoud der Schilderyen, diemen d’Inventie noemt, wordt hier met rechten in d’eerste plaetse ghestelt; Aenghesien nieman, of hy schoon allerley verwen by der hand heeft, seght Seneca {Epist. lxxi}, een ghelijckenisse kan uytdrucken, ’t en sy saecke dat hy van te vooren rijpelick overlegghe wat hy meynt te schilderen.

[Suggested translation, Marije Osnabrugge:] The Historical or the moralizing content of Paintings, which one calls the Invention, is here rightfully placed in the first position; Since nobody, although he has all sorts of paints at hand, says Seneca {…} can express a similitude, it is necessary that he duly contemplates beforehand that which he intends to paint.

inventie

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → sujet et choix
GENRES PICTURAUX → peinture d’histoire