SPRANGER, Bartholomeus ( 1546-1611 )
Quotation
Of Colouring and Shadowing of History in Limning, and also other Necessary Observations.
The differences between Limning Pictures to the Life, or History, are Infinite ; notwithstanding the same Colours that are used for one do also for the other. And to particularise but part of what may be well said upon this Subject, would be too tedeous, if not endless. The most Remarkable is most certainly in the Variety of Colouring of things according to their several Sexes and Ages ; and also of Invention of ordering and well Stelling. All things which are to be represented, are many times according to the Humour, Judgement, and Discretion of the Master. We see generally in the Practice of the best and most Famous Painters, that they that do follow the Life, do tie themselves strictly and precisely to follow what they see in the Life, to immitate it as near as possible ; yet in their Inventions they assume to themselves such a Gentile Liberty and Licence, both in Colouring and Ordering ; but not so far as to run into those Extremes as Bartholomæus Spranger, Henry Goltzius, Abraham Blomart, and Outeawale, and several other Dutch Painters, run into about the Year 1588 ; for their Inventions at that time and Actions were so extravagantly strain’d and stretch to that degree beyond Nature, that made their Works seem to the Judicious Eye very Ridiculous, and contrary to Nature ; and at that time it was grown to such an Imposture or Mode, that he was counted no Master that could not strain his Actions in that extravagant manner. Which Mode was afterwards laid aside, and the Works that those Masters afterwards made were incomparably Good, by their Embracing more the Ancient Italian way of DESIGNING, which was more Modest, Gentile, and Graceful. So far they abused the Modest Licence, that so Graced the Admirable Works of Titian, Michael Angelo, and most of the Eminent Italians of that Age. And others have been as Extravagant in their Colouring. Which two Extremes may be both avoided by imitating that Divine Titian for Colouring, who was of all others esteemed the best.
Quotation
Gelijk dan ook dusdanige Wanwendsels, met de Naam van Sprangers Greepjes in de Wandeling bekend zijn, Symon Vouet en eenige andere Fransche Meesters hebbender mede al een Smeur van weg gehad. Voorwaar die op het Maaxel der Deelen, en de Werking der Muskelen let, sal wel gewaar werden, dat een Beeld gracelijk op een Voet geplant, soo veel wigt daar op send, en de Muskelen die de Voet en Toonen buygen, soodanigh beladen en besigh houd, dat de Toonen niet over houden om te bewegen of veel te Trammeleeren: En of sigh ymand inbeelde dat hy dat doen kan; wy houden egter staande, dat het een swakke en onsekere stand sal vertoonen, en noch meer in de Schilder-Konst sich sal openbaren.
Quotation
Of Colouring and Shadowing of History in Limning, and also other Necessary Observations.
The differences between Limning Pictures to the Life, or History, are Infinite ; notwithstanding the same Colours that are used for one do also for the other. And to particularise but part of what may be well said upon this Subject, would be too tedeous, if not endless. The most Remarkable is most certainly in the Variety of Colouring of things according to their several Sexes and Ages ; and also of Invention of ordering and well Stelling. All things which are to be represented, are many times according to the Humour, Judgement, and Discretion of the Master. We see generally in the Practice of the best and most Famous Painters, that they that do follow the Life, do tie themselves strictly and precisely to follow what they see in the Life, to immitate it as near as possible ; yet in their Inventions they assume to themselves such a Gentile Liberty and Licence, both in Colouring and Ordering ; but not so far as to run into those Extremes as Bartholomæus Spranger, Henry Goltzius, Abraham Blomart, and Outeawale, and several other Dutch Painters, run into about the Year 1588 ; for their Inventions at that time and Actions were so extravagantly strain’d and stretch to that degree beyond Nature, that made their Works seem to the Judicious Eye very Ridiculous, and contrary to Nature ; and at that time it was grown to such an Imposture or Mode, that he was counted no Master that could not strain his Actions in that extravagant manner. Which Mode was afterwards laid aside, and the Works that those Masters afterwards made were incomparably Good, by their Embracing more the Ancient Italian way of DESIGNING, which was more Modest, Gentile, and Graceful. So far they abused the Modest Licence, that so Graced the Admirable Works of Titian, Michael Angelo, and most of the Eminent Italians of that Age. And others have been as Extravagant in their Colouring. Which two Extremes may be both avoided by imitating that Divine Titian for Colouring, who was of all others esteemed the best.
Quotation
Of Colouring and Shadowing of History in Limning, and also other Necessary Observations.
The differences between Limning Pictures to the Life, or History, are Infinite ; notwithstanding the same Colours that are used for one do also for the other. And to particularise but part of what may be well said upon this Subject, would be too tedeous, if not endless. The most Remarkable is most certainly in the Variety of Colouring of things according to their several Sexes and Ages ; and also of Invention of ordering and well Stelling. All things which are to be represented, are many times according to the Humour, Judgement, and Discretion of the Master. We see generally in the Practice of the best and most Famous Painters, that they that do follow the Life, do tie themselves strictly and precisely to follow what they see in the Life, to immitate it as near as possible ; yet in their Inventions they assume to themselves such a Gentile Liberty and Licence, both in Colouring and Ordering ; but not so far as to run into those Extremes as Bartholomæus Spranger, Henry Goltzius, Abraham Blomart, and Outeawale, and several other Dutch Painters, run into about the Year 1588 ; for their Inventions at that time and Actions were so extravagantly strain’d and stretch to that degree beyond Nature, that made their Works seem to the Judicious Eye very Ridiculous, and contrary to Nature ; and at that time it was grown to such an Imposture or Mode, that he was counted no Master that could not strain his Actions in that extravagant manner. Which Mode was afterwards laid aside, and the Works that those Masters afterwards made were incomparably Good, by their Embracing more the Ancient Italian way of DESIGNING, which was more Modest, Gentile, and Graceful. So far they abused the Modest Licence, that so Graced the Admirable Works of Titian, Michael Angelo, and most of the Eminent Italians of that Age. And others have been as Extravagant in their Colouring. Which two Extremes may be both avoided by imitating that Divine Titian for Colouring, who was of all others esteemed the best.
Quotation
En dus isset bygekomen datter ook somtijts Moden in de Schilderkonst sijn opgekomen, {Moden in de Schilderkonst.} die by na algemeen doorbraken: onder welcke de trant van verkramte Menschbeelden, diemen Sprangers Greepjes noemde, al mede mag ingeteld werden. Gelijkmen verder in de sukkel-tijt der Schilderkonst, en ’t leven der vermaarde Meesters kan ontwaar werden.
Quotation
Of Colouring and Shadowing of History in Limning, and also other Necessary Observations.
The differences between Limning Pictures to the Life, or History, are Infinite ; notwithstanding the same Colours that are used for one do also for the other. And to particularise but part of what may be well said upon this Subject, would be too tedeous, if not endless. The most Remarkable is most certainly in the Variety of Colouring of things according to their several Sexes and Ages ; and also of Invention of ordering and well Stelling. All things which are to be represented, are many times according to the Humour, Judgement, and Discretion of the Master. We see generally in the Practice of the best and most Famous Painters, that they that do follow the Life, do tie themselves strictly and precisely to follow what they see in the Life, to immitate it as near as possible ; yet in their Inventions they assume to themselves such a Gentile Liberty and Licence, both in Colouring and Ordering ; but not so far as to run into those Extremes as Bartholomæus Spranger, Henry Goltzius, Abraham Blomart, and Outeawale, and several other Dutch Painters, run into about the Year 1588 ; for their Inventions at that time and Actions were so extravagantly strain’d and stretch to that degree beyond Nature, that made their Works seem to the Judicious Eye very Ridiculous, and contrary to Nature ; and at that time it was grown to such an Imposture or Mode, that he was counted no Master that could not strain his Actions in that extravagant manner. Which Mode was afterwards laid aside, and the Works that those Masters afterwards made were incomparably Good, by their Embracing more the Ancient Italian way of DESIGNING, which was more Modest, Gentile, and Graceful. So far they abused the Modest Licence, that so Graced the Admirable Works of Titian, Michael Angelo, and most of the Eminent Italians of that Age. And others have been as Extravagant in their Colouring. Which two Extremes may be both avoided by imitating that Divine Titian for Colouring, who was of all others esteemed the best.
Quotation
Of Colouring and Shadowing of History in Limning, and also other Necessary Observations.
The differences between Limning Pictures to the Life, or History, are Infinite ; notwithstanding the same Colours that are used for one do also for the other. And to particularise but part of what may be well said upon this Subject, would be too tedeous, if not endless. The most Remarkable is most certainly in the Variety of Colouring of things according to their several Sexes and Ages ; and also of Invention of ordering and well Stelling. All things which are to be represented, are many times according to the Humour, Judgement, and Discretion of the Master. We see generally in the Practice of the best and most Famous Painters, that they that do follow the Life, do tie themselves strictly and precisely to follow what they see in the Life, to immitate it as near as possible ; yet in their Inventions they assume to themselves such a Gentile Liberty and Licence, both in Colouring and Ordering ; but not so far as to run into those Extremes as Bartholomæus Spranger, Henry Goltzius, Abraham Blomart, and Outeawale, and several other Dutch Painters, run into about the Year 1588 ; for their Inventions at that time and Actions were so extravagantly strain’d and stretch to that degree beyond Nature, that made their Works seem to the Judicious Eye very Ridiculous, and contrary to Nature ; and at that time it was grown to such an Imposture or Mode, that he was counted no Master that could not strain his Actions in that extravagant manner. Which Mode was afterwards laid aside, and the Works that those Masters afterwards made were incomparably Good, by their Embracing more the Ancient Italian way of DESIGNING, which was more Modest, Gentile, and Graceful. So far they abused the Modest Licence, that so Graced the Admirable Works of Titian, Michael Angelo, and most of the Eminent Italians of that Age. And others have been as Extravagant in their Colouring. Which two Extremes may be both avoided by imitating that Divine Titian for Colouring, who was of all others esteemed the best.
Quotation
Gelijk dan ook dusdanige Wanwendsels, met de Naam van Sprangers Greepjes in de Wandeling bekend zijn, Symon Vouet en eenige andere Fransche Meesters hebbender mede al een Smeur van weg gehad. Voorwaar die op het Maaxel der Deelen, en de Werking der Muskelen let, sal wel gewaar werden, dat een Beeld gracelijk op een Voet geplant, soo veel wigt daar op send, en de Muskelen die de Voet en Toonen buygen, soodanigh beladen en besigh houd, dat de Toonen niet over houden om te bewegen of veel te Trammeleeren: En of sigh ymand inbeelde dat hy dat doen kan; wy houden egter staande, dat het een swakke en onsekere stand sal vertoonen, en noch meer in de Schilder-Konst sich sal openbaren.
Quotation
Gelijk dan ook dusdanige Wanwendsels, met de Naam van Sprangers Greepjes in de Wandeling bekend zijn, Symon Vouet en eenige andere Fransche Meesters hebbender mede al een Smeur van weg gehad. Voorwaar die op het Maaxel der Deelen, en de Werking der Muskelen let, sal wel gewaar werden, dat een Beeld gracelijk op een Voet geplant, soo veel wigt daar op send, en de Muskelen die de Voet en Toonen buygen, soodanigh beladen en besigh houd, dat de Toonen niet over houden om te bewegen of veel te Trammeleeren: En of sigh ymand inbeelde dat hy dat doen kan; wy houden egter staande, dat het een swakke en onsekere stand sal vertoonen, en noch meer in de Schilder-Konst sich sal openbaren.
Quotation
Well Designed.
[…] ; there must be truth in every part, and Proportion of the figure, just and Naturall with the Life. Some artizans, strain Limbs into extreams. Albert Durar, Golties, Spranger, did so, in that which was ; and Michael Angelo, in that which should be ; and thereby in truth, loose the gracefulness.
{Of Factions.} But then, if an Artizan adventure on a Fiction, it will appeare lesse pleasing, unless it be done boldly ; not only to exceed the worke, (but also the possibility) of Nature ; […].
{Difference of Naturall and feigned Figures.} The Naturall figures indeed, shew property and decencie to delight common Judgement ; and the forced figures, may be the sign of the Novelty in expression, and pleasing the Excitation of the mind ; for Novelty causeth admiration, and admiration enforces curiosity, the delightfull appetite of the mind.
And certainely from an Artizan’s excellencies, proceed those extravagant varieties, or admirable Novelties, which are not the issues of an idle brain, or to be found within the compass of a narrow conception ; but please the Eyes, like new straines of Musick to the Eares, when common ayres become insipid.
{And with Grace.} Grace, is the bold and free disposing of the hand in the whole draught of the designe. […].
Quotation
Well Designed.
[…] ; there must be truth in every part, and Proportion of the figure, just and Naturall with the Life. Some artizans, strain Limbs into extreams. Albert Durar, Golties, Spranger, did so, in that which was ; and Michael Angelo, in that which should be ; and thereby in truth, loose the gracefulness.
{Of Factions.} But then, if an Artizan adventure on a Fiction, it will appeare lesse pleasing, unless it be done boldly ; not only to exceed the worke, (but also the possibility) of Nature ; […].
{Difference of Naturall and feigned Figures.} The Naturall figures indeed, shew property and decencie to delight common Judgement ; and the forced figures, may be the sign of the Novelty in expression, and pleasing the Excitation of the mind ; for Novelty causeth admiration, and admiration enforces curiosity, the delightfull appetite of the mind.
And certainely from an Artizan’s excellencies, proceed those extravagant varieties, or admirable Novelties, which are not the issues of an idle brain, or to be found within the compass of a narrow conception ; but please the Eyes, like new straines of Musick to the Eares, when common ayres become insipid.
{And with Grace.} Grace, is the bold and free disposing of the hand in the whole draught of the designe. […].
Quotation
Of Colouring and Shadowing of History in Limning, and also other Necessary Observations.
The differences between Limning Pictures to the Life, or History, are Infinite ; notwithstanding the same Colours that are used for one do also for the other. And to particularise but part of what may be well said upon this Subject, would be too tedeous, if not endless. The most Remarkable is most certainly in the Variety of Colouring of things according to their several Sexes and Ages ; and also of Invention of ordering and well Stelling. All things which are to be represented, are many times according to the Humour, Judgement, and Discretion of the Master. We see generally in the Practice of the best and most Famous Painters, that they that do follow the Life, do tie themselves strictly and precisely to follow what they see in the Life, to immitate it as near as possible ; yet in their Inventions they assume to themselves such a Gentile Liberty and Licence, both in Colouring and Ordering ; but not so far as to run into those Extremes as Bartholomæus Spranger, Henry Goltzius, Abraham Blomart, and Outeawale, and several other Dutch Painters, run into about the Year 1588 ; for their Inventions at that time and Actions were so extravagantly strain’d and stretch to that degree beyond Nature, that made their Works seem to the Judicious Eye very Ridiculous, and contrary to Nature ; and at that time it was grown to such an Imposture or Mode, that he was counted no Master that could not strain his Actions in that extravagant manner. Which Mode was afterwards laid aside, and the Works that those Masters afterwards made were incomparably Good, by their Embracing more the Ancient Italian way of DESIGNING, which was more Modest, Gentile, and Graceful. So far they abused the Modest Licence, that so Graced the Admirable Works of Titian, Michael Angelo, and most of the Eminent Italians of that Age. And others have been as Extravagant in their Colouring. Which two Extremes may be both avoided by imitating that Divine Titian for Colouring, who was of all others esteemed the best.
Quotation
En dus isset bygekomen datter ook somtijts Moden in de Schilderkonst sijn opgekomen, {Moden in de Schilderkonst.} die by na algemeen doorbraken: onder welcke de trant van verkramte Menschbeelden, diemen Sprangers Greepjes noemde, al mede mag ingeteld werden. Gelijkmen verder in de sukkel-tijt der Schilderkonst, en ’t leven der vermaarde Meesters kan ontwaar werden.
Quotation
Gelijk dan ook dusdanige Wanwendsels, met de Naam van Sprangers Greepjes in de Wandeling bekend zijn, Symon Vouet en eenige andere Fransche Meesters hebbender mede al een Smeur van weg gehad. Voorwaar die op het Maaxel der Deelen, en de Werking der Muskelen let, sal wel gewaar werden, dat een Beeld gracelijk op een Voet geplant, soo veel wigt daar op send, en de Muskelen die de Voet en Toonen buygen, soodanigh beladen en besigh houd, dat de Toonen niet over houden om te bewegen of veel te Trammeleeren: En of sigh ymand inbeelde dat hy dat doen kan; wy houden egter staande, dat het een swakke en onsekere stand sal vertoonen, en noch meer in de Schilder-Konst sich sal openbaren.