GOEREE, Willem, Inleydinge Tot de Al-gemeene Teycken-Konst, waer in de Gronden en Eygenschappen, die tot onfeylbaer en verstandigh begrijp vande Teycken-Konst noodigh te weten zijn, kortelijck en klaer werden aen-gewesen. Zijnde niet alleen den Leerlingen van Teyckenaers, Schilders, Glas-schrijvers, Beeldt-houwers, en andere Oeffenaers tot een aenleydinge nut en dienstigh, maer oock om aen alle Lief-hebbers, en Beminners, soo van Dese, als van andere Konsten (daer uyt voort-komende) een bescheydene kennisse mede te deelen. Den tweeden Druck, by na de helft vermeerdert, Middelburg, Wilhelmus Goeree, 1670.

Koninklijke Bibliotheek La Haye KW 1299 F 11 [2] Images in-texte 311 quotations 186 terms
notes on the author
Willem Goeree (Middelburg 1635 – Amsterdam 1711) was the son of the prominent physician and theologian Hugo Willem Goeree. In 1665 he married Elisabeth Janssonius van Waesberge, daughter of the important Amsterdam publisher Johannes Janssonius van Waesberge. At the time of his marriage, he was a bookseller and initially his Middelburg bookshop functioned as a branch of his father-in-law’s publishing house. Amongst their collaborative publications we find a re-edition of Franciscus Junius’ Schilderkunst der Ouden (Begin, heerlijcke voortgangh. en grootdadigh vermogen der wijdberoemde schilderkonst der antycken, 1675). After his marriage, Willem Goeree started to publish books himself. In 1680, the couple moved to Amsterdam and Goeree collaborated more closely with his father-in-law. However, in 1681 Johannes Janssonius van Waesberge died, as did Goeree’s wife in 1683 and the relationship with his brothers-in-law soon grew bad and all collaboration ended. Willem Goeree’s son Jan (1670-1731) studied with Gerard de Lairesse and became a draughtsman and engraver. He produced many illustrations and frontispieces for books. His other two sons Willem and David continued the Goeree publishing house after their father’s death until 1732. [For more information on Goeree’s life and work as a publisher, see: KWAKKELSTEIN, 1998.]
            As an author, Goeree published on art and (the history of) religion. In 1668, he published Verlichterie-kunde of recht gebruyck der water-verwen. The book was bounded in the same volume as the Inleydinge tot de Al-ghemeene Teycken-Konst, also written by Goeree. In 1670, the Inleydingh tot de practijck der al-gemeene Schilder-Konst followed. Willem Goeree had the intention to write a six-volume magnum opus on the Art of Painting. In the preface to the reader in the Inleydingh tot de practijck der al-gemeene Schilder-konst of 1670, he writes that, apart from the volumes on Drawing and Painting, this book – which he calls “onse geheele Schilderkonst” –  would consist of books on Perspective, Anatomy, Architecture, Composition and Invention (“Ordineeringh and Inventeeringh”) and Light and Colour (“…de kracht en Eygenschap der schaduwen, dagen, reflexien en houdinge en wat verder in ‘t coloreeren waer te nemen state, door Wiskundige figueren te betoogen”) and was intended to assist and improve artistic instruction. The Verlichterie-kunde was not part of this series. Only two of the envisioned other volumes were published: one on Architecture (d’Algemeene Bouwkunde volgens d’Antyke en Hedendaagse Manier, 1681) and the other on Anatomy (Natuurlyk en Schilderkonstig Ontwerp der Menschkunde, 1682). Goeree stated in the latter that he had written the volume on composition, but it was never published.

Teycken-Konst
The Inleydinge tot de Al-ghemeene Teycken-Konst was first published in 1668 in Middelburg. Two years later, Goeree published a second edition. For this edition, the text is enlarged, re-organized and considerably richer. Goeree added many references and citations to ancient authors, likely mainly with the use of Franciscus Junius’ Schilderkonst der Oude (1641). The book had three other editions (1697, 1705 and 1739). The first edition of 1668 was bound together with Goeree’s Verlichterie-kunde.
            Within a few years of tis first publication, the book appeared in English (1674, based on the first Dutch edition) and German. The first German translation, based on the first Dutch edition, appeared in 1669 (translated by Philip von Zesen), a second German translation, based on the second Dutch edition, was published in 1677 (translated by Johann Langen).
            Goeree discusses the Art of Drawing as an important part of the instruction of painters. The treatise is very practical in nature. The book is divided into eleven chapters, discussing different elements and levels of the instruction. [For a detailed description of the text, see KWAKKELSTEIN, 1998.]
           
practical notes
A suggested translation of the selected citations is added for the convenience of the database user who might not be familiar with the Dutch language. Please note that this should by no means serve as a definite translation, it is a work in progress.
The analysis is based on the second Dutch edition of 1670, instead of the first edition of 1668. The reason for this decision is both scientific (Goeree revised the first edition) and practical (the availability of a digitized version). For the analysis of the translations, we have worked with the only English translation (1674), which was likely based on the first Dutch edition (1668) and bound together with a translation of Goeree’s Verlichterie-kunde. For the German, the analysis is based on the second edition of 1677 and not the first of 1669. The edition of 1677 was based on the second Dutch edition and was bound together with the translation of the Verlichterie-kunde and Schilder-konst.

contributors
Marije Osnabrugge: analysis of the text, selection of citations and terms, translation of citations into English, practical elaboration
in-8 dutch

Dedication
Goetgonstige Leser

Structure
Avis au lecteur at [p. *1-*2]

GOEREE, Willem, Inleydinge tot de al-gemeene teycken-konst, waer in de Gronden en Eygenschappen, tie tot onfeylbaer en verstandigh begrijp van de Teycken-Konst noodigh te weten zijn, kortelijck en klaer werden aen-ghewese. Zijnde niet alleen den Leerlingen van Teyckenaers, Schilders, Glas-schijvers, Beeldt-houwers, en andere Oeffenaers tot een aenleydinge nut en dienstigh, maer oock om aen alle Lief-hebbers, en Beminners, soo van Dese, als van andere Konsten (daer uyt vooort-komende,) een bescheydene kennisse mede te deelen. Door Wilhelmus Goeree. Achter welcke noch is by-gevoeght, het recht ghebruyck der Water-verwen, tot de Verlichtery-Kunde noodigh, &c, Middelburg, Wilhelmus Goeree, 1668.

GOEREE, Willem, Inleydinge tot de algemeene teyken-konst : waar in de gronden en eygenschappen, die tot onfeylbaar en verstandig begrijp van de teyken-konst noodig te weten zijn, kort en klaar worden aangewesen. Zijnde niet alleen den Leerlingen der Teyken- en Schilderkunde, Beeldhouwerye en Glasschrijfkunde, tot een aanleydine nut en Dienstig, maar ook om aan alle Liefhebbers en Beminnaars, soo van Dese, als van alle andere konsten (daer uyt voort-komende) een bescheyden Kennisse mede te deelen. Door W. Goeree. In desen derden Druk, van nieuws oversien en vermeerderd, Amsterdam, Daniel van Dalen, 1697.

GOEREE, Willem, Inleydinge tot de algemeene teycken-konst; waar in De gronden en Eygenschappen, die tot onfeylbaar en verstandig begryp van de Teyken-Konst noodig te weten zyn, kort en klaar worden aangewesen. Zynde niet alleen den Leerlingen der Teyken- en Schilderkunde, Beeldhouwerye en Glasschrijfkunde, tot een aanleydinge nut en Dienstig, maar ook om aan alle Liefhebbers en Beminnaars, soo van Dese, als van alle andere konsten (daer uyt voort-komende) een bescheydene Kennisse mede te deelen. Door W. Goeree, In desen Vierden Druk, van den Autheur niewlijks oversien en verbeterd, Amsterdam, Andries van Damme, 1705.

GOEREE, Willem, Inleydinge tot de Algemeene Teyken-konst; waar in De gronden en Eygenschappen, die tot onfeylbaar en verstandig begryp van de teyken-konst noodig te weten zyn, kort en klaar worden aangewesen. Zijnde niet alleen den Leerlingen der Teyken- en Schilderkunde, Beeldhouwerye en Glasschrijfkunde, tot een aanleydinge nut en Dienstig, maar ook om aan alle Liefhebbers en Beminnaars, soo van Dese, als van alle andere konsten (daer uyt voortkomende) een bescheydene Kennisse mede te deelen. Door W. Goeree. In desen Vyfde druk, nieuwlijks oversien en verbeterd, Leiden - Amsterdam, Jan en Hendrik van der Dyster - Jan Roman de jonge, 1739.

GOEREE, Willem, nleydinge tot de algemeene teyken-konst : waar in de gronden en eygenschappen, die tot onfeylbaar en verstandig begrijp van de teyken-konst noodig te weten zijn, kort en klaar worden aangewesen... Amsterdam: Van Dalen, 1697 (derde druk), Soest, Davaco, 1974.

KWAKKELSTEIN, Michael W., Willem Goeree: inleydinge tot de al-ghemeene teycken-konst: een kritische geannoteerde editie, Leiden, Primavera press, 1998.

GOEREE, Willem, Anweisung zu der allgemeinen Reiß- und Zeichen-Kunst: darinnen die Gründe und Eigenschaften die man einen unfehlbahren Verstand in der Zeichenkunst zu erlangen notwendig wissen mus kurzbündig doch klährlich angewiesen werden: nicht allein den angefahenden Zeichern Kupferstechern Mahlern Glasschreibern Bildhauern zu erbauung und nutse; sondern auch alle Liebhabern dieser oder anderer daraus entspriessende Kunste zur Lust und Erlangung so viel Runde als ihnen von allen nie her gehörigen Kunststükken volkömlich zu urteilen nöhtig beschrieben durch den Kunsterfahrnen Wilhelm Goeree und mit müglichsten steisse in das hochdeutsche versezet durch Filip von Zesen, trad. par VON ZESEN, Philipp, Hamburg, Johann Naumann und Georg Wolffen, 1669.

GOEREE, Willem, An Introduction to the general Art of Drawing, Wherein is set forth The Grounds and Properties, which of this infallible and judicious Art are necessary to be known and understood. Being not only Profitable unto them that Practise Drawing; Picture-Drawers, Engravers, Carvers, Stone-Cutters, Jewellers, Goldsmiths, Silversmiths, &c. But also to all Lovers and well-affected, as well to this as to other ARTS (flowing from thence) a commodious Knowledge Communicated: With an Illustration of twenty five Copper-Prints of Figures, for young Learners to practise by. Likewise, An Excellent Treatise of the Art of Limning, in the which the true Grounds, and the perfect Use of Water-Colours, with all their Properties, are clearly and perfectly taught. Formerly set out by that Excellent Limner Mr. Gerhard of Brugge. And now much Augmented and Amended, with some Observations, teaching (besides Illumination) the Colouring and Painting with Water-Colours. Set forth at Middleburgh by W. GORE. Truly Translated into English by J.L. Published by Robert Pricke for the Lovers and Practitioners of this Noble and Admirable Art, London, Robert Pricke, 1674.

GOEREE, Willem, Anweisung zur algemeinen Reiss- und Zeichen-Kunst darinnen die Gründe und Eigenschafften die man einen unfehlbahren Vestand in der Zeichen-Kunst zu erlangen nothwendig wissen muß kürßlich und doch klärlich angewiesen werde. Nicht allein den anfahenden Zeichern Kupfferstechern Mahlern Glasschreibern Bildhauern und dergleichen Künstlern zur Anleitung sondern auch allen Liebhabern beydes dieser und anderer daraus entspriessenden Künste zur Lust und Erlangung so vieler Erkäntnüß als von dergleichen Künsten vernünfftig zu urtheilen erfordert wird dienstlich und nüßlich Durch Wilhelm Goeree. Zum andern Mahl gedruckt und fast umb die Helffte vermehret, trad. par LANGE, Johann, Hamburg, Johann Naumann und Georg Wolffen, 1677.

GOEREE, Willem, Anweisung zur algemeinen Reiss- und Zeichen-Kunst Darinnen die Gründe und Eigenschafften die man einen unfehlbahren Vestand in der Zeichen-Kunst zu erlangen, nothwendig wissen muss, kürzlich, und doch klärlich angewiesen werde. Nicht allein den anfahenden Zeichern, Kupfferstechern, Mahlern, Glasschreibern, Bildhauern und der gleichen Künstlern zur Anleitung, sondern auch allen Liebhabern, beydes dieser und anderer daraus entspriessende Künste, zur Lust und Erlangung so vieler Erkänntniss als von dergleichen Künsten vernünfftig zu urtheilen erfordert wird, dienstlich und nüsslich durch Wilhelm Goeree zum andern Mahl gedruckt und fast um die Helffte vermehret, Hamburg, Samuel Heyl, 1723.

GOEREE, Willem, Anweisung zu der Mahler-Kunst, worinnen nebst derselben Fürtreflichkeit und Nutzen gezeiget wird, was einer zum gründlichen Verstand der Mahler-Kunst wissen, und wie er sich durch Ubung darinnen perfectioniren soll, nebst einem gründlichen Unterricht von der Reiss- und Zeichen- wie auch Illuminir-Kunst, oder dem rechten Gebrauch der Wasser-Farben, Leipzig, Friedrich Lanckischens Erben, 1744.

GOEREE, Willem, Anweisung zu der Mahler-Kunst, worinnen nebst derselben Fürtreflichkeit und Nutzen gezeiget wird, was einer zum gründlichen Verstand der Mahler-Kunst wissen, und wie er sich durch Ubung darinnen perfectioniren soll, nebst einem gründlichen Unterricht von der Reiss- und Zeichen- wie auch Illuminir-Kunst, oder dem rechten Gebrauch der Wasser-Farben, Neue und verbesserte Auflage, Leipzig, Friedrich Lanckischens Erben, 1750.

GOEREE, Willem, Anweisung zu der Mahler-Kunst, worinnen nebst derselben Fürtreflichkeit und Nutzen gezeiget wird, was einer zum gründlichen Verstand der Mahler-Kunst wissen, und wie er sich durch Ubung darinnen perfectioniren soll, nebst einem gründlichen Unterricht von der Reiss- und Zeichen- wie auch Illuminir-Kunst, oder dem rechten Gebrauch der Wasser-Farben, Neue und verbesserte Auflage, Leipzig, landischen Handlung, 1756.

EMMENS, Jan Ameling, Rembrandt en de regels van de kunst, Utrecht, Dekker & Gumbert, 1968.

SCHATBORN, Peter (éd.), Figuurstudies: Nederlandse tekeningen uit de 17de eeuw, cat. exp., Amsterdam, Rijksprentenkabinet - Washington, National Gallery of Art, 1981-1982, Staatsuitgeverij, 1981.

MULLER, Jeffrey M. (éd.), Children of Mercury: The Education of Artists in the Sixteenth and Seventeenth Centuries, cat. exp., Providence, Bell Gallery, 1984, Bell Gallery, 1984.

SCHATBORN, Peter et ORNSTEIN-VAN SLOOTEN, Eva (éd.), Bij Rembrandt in de leer / Rembrandt as teacher, cat. exp., Amsterdam, Museum het Rembrandthuis, 1984, Museum het Rembrandthuis, 1985.

DE KLERK, Bram, « “Academy-Beelden“ and “Teeken-Schoolen" in Dutch Seventeenth-Century Treatises on Art », Leids Kunsthistorisch Jaarboek, 5/6, 1989, p. 283-289.

BOK, Marten Jan, « “Nulla dies sine linie“: De opleiding van schilders in Utrecht in de eerste helft van de zeventiende eeuw », De zeventiende eeuw, 6/1, 1990, p. 56-68.

KWAKKELSTEIN, Michael W., « Willem Goeree and Leonardo’s Theories of Painting », Achademia Leonardi Vinci, 10, 1997, p. 134-140.

KWAKKELSTEIN, Michael W., Willem Goeree : Inleydinge Tot de Al-Ghemeene Teycken-Konst ; Een Kritische Geannoteerde Editie, Leiden, Primavera press, 1998, p. 88-89.

TAYLOR, Paul, « Composition in Seventeenth-Century Dutch Art Theory », dans TAYLOR, Paul et QUIVIGER, François (éd.), Pictorial Composition From Medieval to Modern Art, Actes du colloque de Londres, London - Torino, Warburg Institute - N. Aragno, 2000, p. 146-171.

MAËS, Gaëtane, « Les 'Principes du dessin' de Gerard de Lairesse : réflexions sur les différentes éditions et traductions parues dans l'Europe des Lumières », dans HECK, Michèle-Caroline, FREYSSINET, Marianne et TROUVÉ, Stéphanie (éd.), Lexicographie artistique : formes, usages et enjeux dans l'Europe moderne , Actes du colloque de Montpellier et Paris, Montpellier, PULM, 2018, p. 139-167 [En ligne : dx.doi.org/10.26530/OAPEN_644313 consulté le 15/03/2018].

FILTERS

QUOTATIONS

Gelijck Horatius oock getuyght dat de Schilders ende Poëten van outher de vryheydt hebben gehadt, van alles te derven bestaen.
Sy is een tweede natuer, om datse leert alle de welige en volmaeckte wercken der Geschapene en geduerigh voort-brengende natuer, door een middel van Af-teykenen, na te Bootsen, en dat op soodanigen wijse, dat de ooghen der beschouwers daer door verleyt, ende de handen, als tot yets natuerlijck te willen gevoelen, konnen verleyt worden.

terms translations

[suggested translation, Marije Osnabrugge:] Just like Horace attests that the Painters and Poets have always had the freedom to consist in everything. She is a second nature, because she teaches to imitate all abundant and perfect works of the Created and continually producing nature, by means of drawing after, and in such a way, that the eyes of the beholders are seduced by it, and the hands, as if wanting to touch something naturally, can be tempted.

Horace is not mentioned in the English translation. [MO]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin
CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] Just like Horace attests that the Painters and Poets have always had the freedom to consist in everything. She is a second nature, because she teaches to imitate all abundant and perfect works of the Created and continually producing nature, by means of drawing after, and in such a way, that the eyes of the beholders are seduced by it, and the hands, as if wanting to touch something naturally, can be tempted.

Horace is not mentioned in the English translation. [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

{Exempel van het vermogen der Konst.} De oogen der Menschen (seght hy [ndr: Valerius Maximus]) blijven met een spraeckeloose verbaestheydt daer aen hanghen, als sy dese Schilderye beschouwen; want sy vernieuwen de gelegentheyt der Oude Geschiedenisse, door de verwonderinghe van het tegenwoordige Beelt, achtende dat sich in dien stommen ommetreck der leden, levendige Lichamen vertoonen.

terms translations

[suggested translation, Marije Osnabrugge:] {Example of the power of Art.} The eyes of Man (he says) linger with a speechless amazement, when they watch this Painting; because they relive the situation of the Ancient History, by the allurement of the present Image, believing that living Bodies are depicted in that silent contour of members.

The English translation takes over elements of this section at the top of page 2, but the text is considerably shorter and different. The difference is likely due to the fact that the English translation is based on the first Dutch edition of 1668. [MO]

Conceptual field(s)

SPECTATEUR → perception et regard
terms translations

[suggested translation, Marije Osnabrugge:] {Example of the power of Art.} The eyes of Man (he says) linger with a speechless amazement, when they watch this Painting; because they relive the situation of the Ancient History, by the allurement of the present Image, believing that living Bodies are depicted in that silent contour of members.

The English translation takes over elements of this section at the top of page 2, but the text is considerably shorter and different. The difference is likely due to the fact that the English translation is based on the first Dutch edition of 1668. [MO]

Conceptual field(s)

SPECTATEUR → perception et regard

{Waer in de Teycken-Konst bestaet.} Sy bestaet eyghentlijck op haer selven daer in, datse door middel van trecken, betrecken, omtrecken, doncker en licht, alle bedenckelijcke, wesentlijcke, voorbygaende en teghenwoordige, ja oock toe-komende dingen, die in eenige forme konnen bevat worden, op eenen platten gront, toonschijnigh ront en verheven uytbeelt.

terms translations

[suggested translation, Marije Osnabrugge:] {What the Art of Drawing consists of.} In itself she consists therein, that she depicts, by means of strokes, lines, contours, dark and light, all conceivable, true, ephemeral and present, yes future things as well, which can be contained in a shape, on a flat surface, appearing round and elevated

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin

[…] {Teycken-Konst is voornamentlijck noodigh aen de Schilder-Konst.} soo valt licht te oordeelen datse het begin en het eynde van de groot-geachte Schilder-Konst, tot indien hooghsten trap moet wesen: ghewisselijck isse ergens toe nuttigh hier isse geheel noodigh, hier moetse het alles doen, ja sy moet de Ziel wesen die de Schilder-Konst het leven geeft; want ghelijck de Ziel inden Mensche woont en het lichaem doen aengenaem wesen, alsoo geeft oock de Teyckeningh aende Schilder-Konst de levendige wercksaemheyt; en soo verr’ als de Ziel het lichaem overtreft; so verre gaet oock de Teyckeningh het Schilderen te boven. {Teycken-Konst is de Ziel van de Schilder-Konst.} De Ziel wort geseyt te konnen in wesen blijven en op haer selven buyten ’t Lichaem te bestaen: Maer het Lichaem niet ontbloot zijnde vande Ziel. Soo oock de Teycken-Kunst kan in een volmaeckte getekende af-beeldinge levendigh woonen buyten de Schilder-Konst, maer het Schilderen sonder Teyckenen is doot en levenloos, of liever niet met allen. Maer ghelijck als het Lichaem met de Ziel een volkomen Mensch uytmaeckt, even soo moet het Teyckenen en Schilderen de Schilderye voortbrengen; blijvende echter waerachtigh, dat de Teycken-Kunst in ’t bysonder aengehmerckt, ten opsicht van het Schilderen, deselve verre te boven gaet. {Men vint meer slegte Teyckenaers die wel Schilderen, dan goede Teyckenaers die slegt Schilderen.} Dit wert ons noch nader door de daeghelijckse ervarentheydt bewesen, door dien men siet datter meer Schilders dan slechte Teyckenaers en eenighsins wel Schilderen; dan goede Teyckenaers die slecht Schilderen, gevonden worden; gelijck oock van F. Iunius ten desen opsicht seer wel is aengemerckt, dat de Antique vermaerde Schilder, noyt soo seer de aengenaemheyt en kracht harer Konste en stelden, in ’t leggen der Verwen, om daar door hunnen dingen op te proncken, als wel in ’t verstandt van een overvaste Teycken-Konst.

terms translations

[suggested translation, Marije Osnabrugge:] […] {The Art of Drawing is mostly necessary for the Art of Painting.} as such it is easy to judge that the beginning and end of the highly praised Art of Painting, is necessary until the highest level: she is certainly useful somewhere here she is necessary, here it should do everything, yes she has to be the Soul that gives life to the Art of Painting; Just like the Soul lives in Man and makes the body pleasant, similarly the Drawing provides the Art of Painting the lively action; and as far as the Soul surpasses the body; as such the Drawing surpasses the Painting. {The Art of Drawing is the Soul of the Art of Painting.} The Soul is said to be able to stay in a person and independently exist outside the Body: But the Body cannot be without the Soul. As such the Art of Drawing can exist in a perfectly drawn depiction independently from the Art of Painting, but Painting is dead and lifeless without Drawing. But like the Body makes a complete Man with the Soul, similarly Drawing and Painting have to produce the Painting; it remains true however, that the Art of Drawing in particular, in comparison to Painting, greatly surpasses it. {One may find more bad Draughtsmen who can Paint well, than good Draughtsmen who Paint badly.} This is proven to us even further by everyday experience, in which one sees that on can find more Painters than bad Draughtsmen can Paint reasonably well; than good Draughtsmen who Paint badly; just like it has been noted by F. Junius in this regard, that the famous Ancient Painter did not so much place the comeliness and power of their Art in the adding of Colours, to embellish their things, but rather in the sense of a very steady Art of Drawing.

Junius is not mentioned in the English translation. In fact, the whole comparison between Painters and Draughtsmen in the Dutch original (second edition) is missing in the English translation (after the first Dutch edition). [MO]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → comparaison entre les arts
L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] […] {The Art of Drawing is mostly necessary for the Art of Painting.} as such it is easy to judge that the beginning and end of the highly praised Art of Painting, is necessary until the highest level: she is certainly useful somewhere here she is necessary, here it should do everything, yes she has to be the Soul that gives life to the Art of Painting; Just like the Soul lives in Man and makes the body pleasant, similarly the Drawing provides the Art of Painting the lively action; and as far as the Soul surpasses the body; as such the Drawing surpasses the Painting. {The Art of Drawing is the Soul of the Art of Painting.} The Soul is said to be able to stay in a person and independently exist outside the Body: But the Body cannot be without the Soul. As such the Art of Drawing can exist in a perfectly drawn depiction independently from the Art of Painting, but Painting is dead and lifeless without Drawing. But like the Body makes a complete Man with the Soul, similarly Drawing and Painting have to produce the Painting; it remains true however, that the Art of Drawing in particular, in comparison to Painting, greatly surpasses it. {One may find more bad Draughtsmen who can Paint well, than good Draughtsmen who Paint badly.} This is proven to us even further by everyday experience, in which one sees that on can find more Painters than bad Draughtsmen can Paint reasonably well; than good Draughtsmen who Paint badly; just like it has been noted by F. Junius in this regard, that the famous Ancient Painter did not so much place the comeliness and power of their Art in the adding of Colours, to embellish their things, but rather in the sense of a very steady Art of Drawing.

Junius is not mentioned in the English translation. In fact, the whole comparison between Painters and Draughtsmen in the Dutch original (second edition) is missing in the English translation (after the first Dutch edition). [MO]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → comparaison entre les arts
terms translations

[suggested translation, Marije Osnabrugge:] […] {The Art of Drawing is mostly necessary for the Art of Painting.} as such it is easy to judge that the beginning and end of the highly praised Art of Painting, is necessary until the highest level: she is certainly useful somewhere here she is necessary, here it should do everything, yes she has to be the Soul that gives life to the Art of Painting; Just like the Soul lives in Man and makes the body pleasant, similarly the Drawing provides the Art of Painting the lively action; and as far as the Soul surpasses the body; as such the Drawing surpasses the Painting. {The Art of Drawing is the Soul of the Art of Painting.} The Soul is said to be able to stay in a person and independently exist outside the Body: But the Body cannot be without the Soul. As such the Art of Drawing can exist in a perfectly drawn depiction independently from the Art of Painting, but Painting is dead and lifeless without Drawing. But like the Body makes a complete Man with the Soul, similarly Drawing and Painting have to produce the Painting; it remains true however, that the Art of Drawing in particular, in comparison to Painting, greatly surpasses it. {One may find more bad Draughtsmen who can Paint well, than good Draughtsmen who Paint badly.} This is proven to us even further by everyday experience, in which one sees that on can find more Painters than bad Draughtsmen can Paint reasonably well; than good Draughtsmen who Paint badly; just like it has been noted by F. Junius in this regard, that the famous Ancient Painter did not so much place the comeliness and power of their Art in the adding of Colours, to embellish their things, but rather in the sense of a very steady Art of Drawing.

Junius is not mentioned in the English translation. In fact, the whole comparison between Painters and Draughtsmen in the Dutch original (second edition) is missing in the English translation (after the first Dutch edition). [MO]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → comparaison entre les arts
PEINTURE, TABLEAU, IMAGE → définition de la peinture
terms translations

[suggested translation, Marije Osnabrugge:] […] {The Art of Drawing is mostly necessary for the Art of Painting.} as such it is easy to judge that the beginning and end of the highly praised Art of Painting, is necessary until the highest level: she is certainly useful somewhere here she is necessary, here it should do everything, yes she has to be the Soul that gives life to the Art of Painting; Just like the Soul lives in Man and makes the body pleasant, similarly the Drawing provides the Art of Painting the lively action; and as far as the Soul surpasses the body; as such the Drawing surpasses the Painting. {The Art of Drawing is the Soul of the Art of Painting.} The Soul is said to be able to stay in a person and independently exist outside the Body: But the Body cannot be without the Soul. As such the Art of Drawing can exist in a perfectly drawn depiction independently from the Art of Painting, but Painting is dead and lifeless without Drawing. But like the Body makes a complete Man with the Soul, similarly Drawing and Painting have to produce the Painting; it remains true however, that the Art of Drawing in particular, in comparison to Painting, greatly surpasses it. {One may find more bad Draughtsmen who can Paint well, than good Draughtsmen who Paint badly.} This is proven to us even further by everyday experience, in which one sees that on can find more Painters than bad Draughtsmen can Paint reasonably well; than good Draughtsmen who Paint badly; just like it has been noted by F. Junius in this regard, that the famous Ancient Painter did not so much place the comeliness and power of their Art in the adding of Colours, to embellish their things, but rather in the sense of a very steady Art of Drawing.

Junius is not mentioned in the English translation. In fact, the whole comparison between Painters and Draughtsmen in the Dutch original (second edition) is missing in the English translation (after the first Dutch edition). [MO]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture
terms translations

[suggested translation, Marije Osnabrugge:] […] {The Art of Drawing is mostly necessary for the Art of Painting.} as such it is easy to judge that the beginning and end of the highly praised Art of Painting, is necessary until the highest level: she is certainly useful somewhere here she is necessary, here it should do everything, yes she has to be the Soul that gives life to the Art of Painting; Just like the Soul lives in Man and makes the body pleasant, similarly the Drawing provides the Art of Painting the lively action; and as far as the Soul surpasses the body; as such the Drawing surpasses the Painting. {The Art of Drawing is the Soul of the Art of Painting.} The Soul is said to be able to stay in a person and independently exist outside the Body: But the Body cannot be without the Soul. As such the Art of Drawing can exist in a perfectly drawn depiction independently from the Art of Painting, but Painting is dead and lifeless without Drawing. But like the Body makes a complete Man with the Soul, similarly Drawing and Painting have to produce the Painting; it remains true however, that the Art of Drawing in particular, in comparison to Painting, greatly surpasses it. {One may find more bad Draughtsmen who can Paint well, than good Draughtsmen who Paint badly.} This is proven to us even further by everyday experience, in which one sees that on can find more Painters than bad Draughtsmen can Paint reasonably well; than good Draughtsmen who Paint badly; just like it has been noted by F. Junius in this regard, that the famous Ancient Painter did not so much place the comeliness and power of their Art in the adding of Colours, to embellish their things, but rather in the sense of a very steady Art of Drawing.

Junius is not mentioned in the English translation. In fact, the whole comparison between Painters and Draughtsmen in the Dutch original (second edition) is missing in the English translation (after the first Dutch edition). [MO]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → comparaison entre les arts
L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] […] {The Art of Drawing is mostly necessary for the Art of Painting.} as such it is easy to judge that the beginning and end of the highly praised Art of Painting, is necessary until the highest level: she is certainly useful somewhere here she is necessary, here it should do everything, yes she has to be the Soul that gives life to the Art of Painting; Just like the Soul lives in Man and makes the body pleasant, similarly the Drawing provides the Art of Painting the lively action; and as far as the Soul surpasses the body; as such the Drawing surpasses the Painting. {The Art of Drawing is the Soul of the Art of Painting.} The Soul is said to be able to stay in a person and independently exist outside the Body: But the Body cannot be without the Soul. As such the Art of Drawing can exist in a perfectly drawn depiction independently from the Art of Painting, but Painting is dead and lifeless without Drawing. But like the Body makes a complete Man with the Soul, similarly Drawing and Painting have to produce the Painting; it remains true however, that the Art of Drawing in particular, in comparison to Painting, greatly surpasses it. {One may find more bad Draughtsmen who can Paint well, than good Draughtsmen who Paint badly.} This is proven to us even further by everyday experience, in which one sees that on can find more Painters than bad Draughtsmen can Paint reasonably well; than good Draughtsmen who Paint badly; just like it has been noted by F. Junius in this regard, that the famous Ancient Painter did not so much place the comeliness and power of their Art in the adding of Colours, to embellish their things, but rather in the sense of a very steady Art of Drawing.

Junius is not mentioned in the English translation. In fact, the whole comparison between Painters and Draughtsmen in the Dutch original (second edition) is missing in the English translation (after the first Dutch edition). [MO]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → comparaison entre les arts
terms translations

[suggested translation, Marije Osnabrugge:] […] {The Art of Drawing is mostly necessary for the Art of Painting.} as such it is easy to judge that the beginning and end of the highly praised Art of Painting, is necessary until the highest level: she is certainly useful somewhere here she is necessary, here it should do everything, yes she has to be the Soul that gives life to the Art of Painting; Just like the Soul lives in Man and makes the body pleasant, similarly the Drawing provides the Art of Painting the lively action; and as far as the Soul surpasses the body; as such the Drawing surpasses the Painting. {The Art of Drawing is the Soul of the Art of Painting.} The Soul is said to be able to stay in a person and independently exist outside the Body: But the Body cannot be without the Soul. As such the Art of Drawing can exist in a perfectly drawn depiction independently from the Art of Painting, but Painting is dead and lifeless without Drawing. But like the Body makes a complete Man with the Soul, similarly Drawing and Painting have to produce the Painting; it remains true however, that the Art of Drawing in particular, in comparison to Painting, greatly surpasses it. {One may find more bad Draughtsmen who can Paint well, than good Draughtsmen who Paint badly.} This is proven to us even further by everyday experience, in which one sees that on can find more Painters than bad Draughtsmen can Paint reasonably well; than good Draughtsmen who Paint badly; just like it has been noted by F. Junius in this regard, that the famous Ancient Painter did not so much place the comeliness and power of their Art in the adding of Colours, to embellish their things, but rather in the sense of a very steady Art of Drawing.

Junius is not mentioned in the English translation. In fact, the whole comparison between Painters and Draughtsmen in the Dutch original (second edition) is missing in the English translation (after the first Dutch edition). [MO]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → comparaison entre les arts
PEINTURE, TABLEAU, IMAGE → définition du dessin
terms translations

[suggested translation, Marije Osnabrugge:] […] {The Art of Drawing is mostly necessary for the Art of Painting.} as such it is easy to judge that the beginning and end of the highly praised Art of Painting, is necessary until the highest level: she is certainly useful somewhere here she is necessary, here it should do everything, yes she has to be the Soul that gives life to the Art of Painting; Just like the Soul lives in Man and makes the body pleasant, similarly the Drawing provides the Art of Painting the lively action; and as far as the Soul surpasses the body; as such the Drawing surpasses the Painting. {The Art of Drawing is the Soul of the Art of Painting.} The Soul is said to be able to stay in a person and independently exist outside the Body: But the Body cannot be without the Soul. As such the Art of Drawing can exist in a perfectly drawn depiction independently from the Art of Painting, but Painting is dead and lifeless without Drawing. But like the Body makes a complete Man with the Soul, similarly Drawing and Painting have to produce the Painting; it remains true however, that the Art of Drawing in particular, in comparison to Painting, greatly surpasses it. {One may find more bad Draughtsmen who can Paint well, than good Draughtsmen who Paint badly.} This is proven to us even further by everyday experience, in which one sees that on can find more Painters than bad Draughtsmen can Paint reasonably well; than good Draughtsmen who Paint badly; just like it has been noted by F. Junius in this regard, that the famous Ancient Painter did not so much place the comeliness and power of their Art in the adding of Colours, to embellish their things, but rather in the sense of a very steady Art of Drawing.

Junius is not mentioned in the English translation. In fact, the whole comparison between Painters and Draughtsmen in the Dutch original (second edition) is missing in the English translation (after the first Dutch edition). [MO]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin

En om het waere vermogen vande Teycken-Konst met eene reden te besluyten, soo laet ons eens hooren hoe Philostrate ons die in sijn tweede Boeck in ’t leven Apollonij beschrijft, daer hy aldus uytvaert. {Hoedanig Philostrate de Teycken-Konst beschrijft.} Het en mach niet geloochent worden (seyt hy) of de linien die sonder eenigh Verw-gepronck, maer alleen in licht en schaduwe bestaen, verdienen de naem van een Schilderie; vermits wy inde selve niet alleen de gelijckenissen vande afgebeelde Persoonen beschouwen, maer oock haere bewegingen selfs;

terms translations

[suggested translation, Marije Osnabrugge:] And to conclude the true power of the Art of Drawing by means of an argument, let us then hear how Philostratus describes it to us in his second book in the life of Apollonius, where he argues as follows. {How Philostratus describes the Art of Drawing.) It cannot be denied (he says) that the lines that exist without any ostentation of colour but only in light and shadow, deserve the name of Painting; as we discern not only the likenesses of the depicted Persons, but also their movements;

This section is not included in the English translation. [MO]

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude
terms translations

[suggested translation, Marije Osnabrugge:] And to conclude the true power of the Art of Drawing by means of an argument, let us then hear how Philostratus describes it to us in his second book in the life of Apollonius, where he argues as follows. {How Philostratus describes the Art of Drawing.) It cannot be denied (he says) that the lines that exist without any ostentation of colour but only in light and shadow, deserve the name of Painting; as we discern not only the likenesses of the depicted Persons, but also their movements;

This section is not included in the English translation. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] And to conclude the true power of the Art of Drawing by means of an argument, let us then hear how Philostratus describes it to us in his second book in the life of Apollonius, where he argues as follows. {How Philostratus describes the Art of Drawing.) It cannot be denied (he says) that the lines that exist without any ostentation of colour but only in light and shadow, deserve the name of Painting; as we discern not only the likenesses of the depicted Persons, but also their movements;

This section is not included in the English translation. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] And to conclude the true power of the Art of Drawing by means of an argument, let us then hear how Philostratus describes it to us in his second book in the life of Apollonius, where he argues as follows. {How Philostratus describes the Art of Drawing.) It cannot be denied (he says) that the lines that exist without any ostentation of colour but only in light and shadow, deserve the name of Painting; as we discern not only the likenesses of the depicted Persons, but also their movements;

This section is not included in the English translation. [MO]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin
PEINTURE, TABLEAU, IMAGE → définition de la peinture
terms translations

[suggested translation, Marije Osnabrugge:] And to conclude the true power of the Art of Drawing by means of an argument, let us then hear how Philostratus describes it to us in his second book in the life of Apollonius, where he argues as follows. {How Philostratus describes the Art of Drawing.) It cannot be denied (he says) that the lines that exist without any ostentation of colour but only in light and shadow, deserve the name of Painting; as we discern not only the likenesses of the depicted Persons, but also their movements;

This section is not included in the English translation. [MO]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin
terms translations

[suggested translation, Marije Osnabrugge:] And to conclude the true power of the Art of Drawing by means of an argument, let us then hear how Philostratus describes it to us in his second book in the life of Apollonius, where he argues as follows. {How Philostratus describes the Art of Drawing.) It cannot be denied (he says) that the lines that exist without any ostentation of colour but only in light and shadow, deserve the name of Painting; as we discern not only the likenesses of the depicted Persons, but also their movements;

This section is not included in the English translation. [MO]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin

{Teycken-Konst vereyst een gansch Mensche.} Nu vermits dese Konst van Teyckenen (het sy datse haer op-sicht heeft tot de Schilder-Konst, ofte op hare eygen volkomentheyt) sich seer wijt uytstreckt, en veel meer verborgentheyden in haer begrijpt, als veele wel duncken, en dat daer toe een groote kennis van alle dingen vereyst wert, (gelijck dat kortelijck in onse Inleydingh tot de Schilder-Konst getoont is, en noch breeder soo in dit, als in ons volghende Werck sullen aenwijsen;) soo moetmen weten, dat sy de sinnen en schrander oordeel van een gheheel Mensche vereyst, om die grondigh en verstandelijck te leeren verstaen, en die als een Man, die den naem van een Meester past, deftigh in ’t werck te stellen. Derhalven en kan ’t van niemandt tegen gesproocken worden, dat wy ten desen eynde een lichtverstanelijck onderwijsinge aen de jonge Leerlingen voorstellen, om daer in soo veel als moghelick is, de waere eygenschappen en bysondere waerneminghen deser Konste soo naeckt aen te wijsen, dat selfs de geringe verstanden met tijt en arbeyt, een goet stuck weegs in de eerste beginselen kunnen gebracht werden.

terms translations

[suggested translation, Marije Osnabrugge:] {The Art of Drawing needs a complete Man.} Now that this Art of Drawing (whether she has her use for the Art of Painting or for her own perfection) stretches very widely, and contains far more secrets than most would think, and as a great knowledge is necessary for it, (as has recently been shown in our Inleydingh tot de Schilder-Konst, and will be discussed more in this and our next Work;) as such one should know that it needs the senses and bright judgement of a complete Man, to be able to understand it profoundly and wisely, and which a Man, whom the name of Master suits, should definitely apply. Therefore nobody can contradict, that we propose a easily understandable instruction to the young Pupils, to point out as much as possible, the true characteristics and special observations of this Art so plainly in it, that even the lesser minds can be taken quite far in the first beginnings with time and labour.

Conceptual field(s)

L’ARTISTE → règles et préceptes
terms translations

[suggested translation, Marije Osnabrugge:] {The Art of Drawing needs a complete Man.} Now that this Art of Drawing (whether she has her use for the Art of Painting or for her own perfection) stretches very widely, and contains far more secrets than most would think, and as a great knowledge is necessary for it, (as has recently been shown in our Inleydingh tot de Schilder-Konst, and will be discussed more in this and our next Work;) as such one should know that it needs the senses and bright judgement of a complete Man, to be able to understand it profoundly and wisely, and which a Man, whom the name of Master suits, should definitely apply. Therefore nobody can contradict, that we propose a easily understandable instruction to the young Pupils, to point out as much as possible, the true characteristics and special observations of this Art so plainly in it, that even the lesser minds can be taken quite far in the first beginnings with time and labour.

Conceptual field(s)

L’ARTISTE → qualités
L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] {The Art of Drawing needs a complete Man.} Now that this Art of Drawing (whether she has her use for the Art of Painting or for her own perfection) stretches very widely, and contains far more secrets than most would think, and as a great knowledge is necessary for it, (as has recently been shown in our Inleydingh tot de Schilder-Konst, and will be discussed more in this and our next Work;) as such one should know that it needs the senses and bright judgement of a complete Man, to be able to understand it profoundly and wisely, and which a Man, whom the name of Master suits, should definitely apply. Therefore nobody can contradict, that we propose a easily understandable instruction to the young Pupils, to point out as much as possible, the true characteristics and special observations of this Art so plainly in it, that even the lesser minds can be taken quite far in the first beginnings with time and labour.

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] {The Art of Drawing needs a complete Man.} Now that this Art of Drawing (whether she has her use for the Art of Painting or for her own perfection) stretches very widely, and contains far more secrets than most would think, and as a great knowledge is necessary for it, (as has recently been shown in our Inleydingh tot de Schilder-Konst, and will be discussed more in this and our next Work;) as such one should know that it needs the senses and bright judgement of a complete Man, to be able to understand it profoundly and wisely, and which a Man, whom the name of Master suits, should definitely apply. Therefore nobody can contradict, that we propose a easily understandable instruction to the young Pupils, to point out as much as possible, the true characteristics and special observations of this Art so plainly in it, that even the lesser minds can be taken quite far in the first beginnings with time and labour.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] {The Art of Drawing needs a complete Man.} Now that this Art of Drawing (whether she has her use for the Art of Painting or for her own perfection) stretches very widely, and contains far more secrets than most would think, and as a great knowledge is necessary for it, (as has recently been shown in our Inleydingh tot de Schilder-Konst, and will be discussed more in this and our next Work;) as such one should know that it needs the senses and bright judgement of a complete Man, to be able to understand it profoundly and wisely, and which a Man, whom the name of Master suits, should definitely apply. Therefore nobody can contradict, that we propose a easily understandable instruction to the young Pupils, to point out as much as possible, the true characteristics and special observations of this Art so plainly in it, that even the lesser minds can be taken quite far in the first beginnings with time and labour.

Conceptual field(s)

L’ARTISTE → apprentissage

{Lust moet d’eerste aenleydingh tot de Konsten geven.} Niemant (plegen de Peripatetische Philosophen te seggen.) en kan eenige treffelijcke Wetenschappen bekomen, ten sy hy daer een bysonder lust toe hebbe. Welcke men moet verstaen van soodanigen lust, die te samen met een welgesteltheydt der natuere, tot soodanigen Konst geneyght en aengelydt wort; Gemerckt de jeught van natueren altijt gheneyght schijnt tot yets bysonders datse voorheeft, namaels te sullen worden.

terms translations

[suggested translation, Marije Osnabrugge:] {Desire should give the first impulse to the Arts.} Nobody (the Peripatetic Philosophers tend to say) can obtain any useful Sciences, unless he has a special desire for it. Which one should understand of such a desire, that is inclined and stimulated to such an Art, together with the favorability of nature; Seen that the youth always tends to be inclined to something specific it wants to do, and afterwards becomes it.

philosophes péripétaticiens

In the English translation, no reference is made to the peripatetic philosophers, who are cited in the Dutch original. [MO]

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] {Desire should give the first impulse to the Arts.} Nobody (the Peripatetic Philosophers tend to say) can obtain any useful Sciences, unless he has a special desire for it. Which one should understand of such a desire, that is inclined and stimulated to such an Art, together with the favorability of nature; Seen that the youth always tends to be inclined to something specific it wants to do, and afterwards becomes it.

philosophes péripétaticiens

In the English translation, no reference is made to the peripatetic philosophers, who are cited in the Dutch original. [MO]

Conceptual field(s)

L’ARTISTE → qualités

{Middelen waer door men sich in dese Konst oeffenen sal.} De middelen nu waer door men sich in dese Konst kan oeffenen, konnen bequamelijck in twee generale leden onderscheyen worden: de eene is de onderwijsinge, het andere is de doeningh van den Leerlingh selfs.
{Hoedanig ’t onderwijs geschiet.} De onderwijsinghe geschiet door eenen Meester, het sy dan over eenige Konst die men door Teyckenen na-volght, ofte over het natuerlijck leven, en wat daer vorder kan onder begrepen worden, daer na is het natuerlijck leven, den Meester en ’t onderwijs van de Leerlingh selfs.

terms translations

[suggested translation, Marije Osnabrugge:] {Means by which one should practice oneself in this Art.} Now the means by which one can practice oneself in this art, can successfully be divided into two general parts: the one is the instruction, the other the practice of the Pupil himself. {How the instruction takes place.} The instruction takes place by a Master, either with regard to some Art that one imitates by means of Drawing, or with regard to the natural life, and what else can be included in it, after that there is the natural life, the Master and the instruction of the Pupil himself.

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] {Means by which one should practice oneself in this Art.} Now the means by which one can practice oneself in this art, can successfully be divided into two general parts: the one is the instruction, the other the practice of the Pupil himself. {How the instruction takes place.} The instruction takes place by a Master, either with regard to some Art that one imitates by means of Drawing, or with regard to the natural life, and what else can be included in it, after that there is the natural life, the Master and the instruction of the Pupil himself.

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] {Means by which one should practice oneself in this Art.} Now the means by which one can practice oneself in this art, can successfully be divided into two general parts: the one is the instruction, the other the practice of the Pupil himself. {How the instruction takes place.} The instruction takes place by a Master, either with regard to some Art that one imitates by means of Drawing, or with regard to the natural life, and what else can be included in it, after that there is the natural life, the Master and the instruction of the Pupil himself.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] {Means by which one should practice oneself in this Art.} Now the means by which one can practice oneself in this art, can successfully be divided into two general parts: the one is the instruction, the other the practice of the Pupil himself. {How the instruction takes place.} The instruction takes place by a Master, either with regard to some Art that one imitates by means of Drawing, or with regard to the natural life, and what else can be included in it, after that there is the natural life, the Master and the instruction of the Pupil himself.

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] {Means by which one should practice oneself in this Art.} Now the means by which one can practice oneself in this art, can successfully be divided into two general parts: the one is the instruction, the other the practice of the Pupil himself. {How the instruction takes place.} The instruction takes place by a Master, either with regard to some Art that one imitates by means of Drawing, or with regard to the natural life, and what else can be included in it, after that there is the natural life, the Master and the instruction of the Pupil himself.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] {Means by which one should practice oneself in this Art.} Now the means by which one can practice oneself in this art, can successfully be divided into two general parts: the one is the instruction, the other the practice of the Pupil himself. {How the instruction takes place.} The instruction takes place by a Master, either with regard to some Art that one imitates by means of Drawing, or with regard to the natural life, and what else can be included in it, after that there is the natural life, the Master and the instruction of the Pupil himself.

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] {Means by which one should practice oneself in this Art.} Now the means by which one can practice oneself in this art, can successfully be divided into two general parts: the one is the instruction, the other the practice of the Pupil himself. {How the instruction takes place.} The instruction takes place by a Master, either with regard to some Art that one imitates by means of Drawing, or with regard to the natural life, and what else can be included in it, after that there is the natural life, the Master and the instruction of the Pupil himself.

Conceptual field(s)

L’ARTISTE → apprentissage

{Perspective te verstaen eerst geraden.} En daer van soude wel het redelijckste wesen, dat een Jonck Teyckenaer, eerst de Perspective ofte Doorsicht-kunde, volghens lichte en bevattelijcke regelen, leere verstaen, op dat hy daer door al vroeg mochte komen tot de kennis, van alle dingh sijn juyste proportie, en stant van beschouwinge te geven, sonder welcke wetenschap de gront-vest deser Const, noch de reden van alles datter ghemaeckt wort, niet en kan begrepen worden. {Om dat de Perspective voor de eerste aenkomelingen wat te swaer valt, salmen die aen haer onder ’t leeren van andere dingen soecken in te prenten.} Maer alsoo de Jongelinghen inden beginne tot dese dinghen noch veeltijts wat te swack zijn, en van alles niet wel konnen bevatten, so machmen haer eenigen tijdt laten doorbrenghen met het na- teyckenen van eenighe lichte voor-beelden, en in dat doen, soo haest als ’t mogelijck is vande Perspectijf regelen de ooghen openen, op dat sy alsoo ghelijckelijck neffens het Teyckenen, de Doorsicht-kunde souden leeren;

terms translations

[suggested translation, Marije Osnabrugge:] {It is advised to first understand Perspective.} And of this it would be the most reasonable, that a young draughtsman, first learns to understand the Perspective, by means of easy and comprehensible rules, in order for him to early obtain the knowledge of everything’s right proportion, and position of observation, without which science neither the basis of this Art, nor the sense of all that is being made, cannot be understood. {As the Perspective is a bit too heavy for the very beginners, one should attempt to teach them while learning other things.} Yet if the young men are often still a bit too weak in the beginning, and are unable to understand several things, as such one could let them spend some time with drawing after some easy examples, and by doing so, as quickly as possible opening the eyes for the rules of Perspective, in order for them to learn the Perspective simultaneously with the Drawing;

The second part of this section is not included in the English translation. [MO]

perspective

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
L’ARTISTE → règles et préceptes
terms translations

[suggested translation, Marije Osnabrugge:] {It is advised to first understand Perspective.} And of this it would be the most reasonable, that a young draughtsman, first learns to understand the Perspective, by means of easy and comprehensible rules, in order for him to early obtain the knowledge of everything’s right proportion, and position of observation, without which science neither the basis of this Art, nor the sense of all that is being made, cannot be understood. {As the Perspective is a bit too heavy for the very beginners, one should attempt to teach them while learning other things.} Yet if the young men are often still a bit too weak in the beginning, and are unable to understand several things, as such one could let them spend some time with drawing after some easy examples, and by doing so, as quickly as possible opening the eyes for the rules of Perspective, in order for them to learn the Perspective simultaneously with the Drawing;

In English, this term is translated as: 'proportion of augmentation and diminuition'. The second part of this section is not included in the English translation. [MO]

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] {It is advised to first understand Perspective.} And of this it would be the most reasonable, that a young draughtsman, first learns to understand the Perspective, by means of easy and comprehensible rules, in order for him to early obtain the knowledge of everything’s right proportion, and position of observation, without which science neither the basis of this Art, nor the sense of all that is being made, cannot be understood. {As the Perspective is a bit too heavy for the very beginners, one should attempt to teach them while learning other things.} Yet if the young men are often still a bit too weak in the beginning, and are unable to understand several things, as such one could let them spend some time with drawing after some easy examples, and by doing so, as quickly as possible opening the eyes for the rules of Perspective, in order for them to learn the Perspective simultaneously with the Drawing;

The second part of this section is not included in the English translation. [MO]

doorzichtkunde

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
L’ARTISTE → règles et préceptes
terms translations

[suggested translation, Marije Osnabrugge:] {It is advised to first understand Perspective.} And of this it would be the most reasonable, that a young draughtsman, first learns to understand the Perspective, by means of easy and comprehensible rules, in order for him to early obtain the knowledge of everything’s right proportion, and position of observation, without which science neither the basis of this Art, nor the sense of all that is being made, cannot be understood. {As the Perspective is a bit too heavy for the very beginners, one should attempt to teach them while learning other things.} Yet if the young men are often still a bit too weak in the beginning, and are unable to understand several things, as such one could let them spend some time with drawing after some easy examples, and by doing so, as quickly as possible opening the eyes for the rules of Perspective, in order for them to learn the Perspective simultaneously with the Drawing;

In English, this term is translated as: 'proportion of augmentation and diminuition'. The second part of this section is not included in the English translation. [MO]

Conceptual field(s)

EFFET PICTURAL → perspective
L’HISTOIRE ET LA FIGURE → proportion
terms translations

[suggested translation, Marije Osnabrugge:] {It is advised to first understand Perspective.} And of this it would be the most reasonable, that a young draughtsman, first learns to understand the Perspective, by means of easy and comprehensible rules, in order for him to early obtain the knowledge of everything’s right proportion, and position of observation, without which science neither the basis of this Art, nor the sense of all that is being made, cannot be understood. {As the Perspective is a bit too heavy for the very beginners, one should attempt to teach them while learning other things.} Yet if the young men are often still a bit too weak in the beginning, and are unable to understand several things, as such one could let them spend some time with drawing after some easy examples, and by doing so, as quickly as possible opening the eyes for the rules of Perspective, in order for them to learn the Perspective simultaneously with the Drawing;

The second part of this section is not included in the English translation. [MO]

Conceptual field(s)

L’ARTISTE → règles et préceptes
L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] {It is advised to first understand Perspective.} And of this it would be the most reasonable, that a young draughtsman, first learns to understand the Perspective, by means of easy and comprehensible rules, in order for him to early obtain the knowledge of everything’s right proportion, and position of observation, without which science neither the basis of this Art, nor the sense of all that is being made, cannot be understood. {As the Perspective is a bit too heavy for the very beginners, one should attempt to teach them while learning other things.} Yet if the young men are often still a bit too weak in the beginning, and are unable to understand several things, as such one could let them spend some time with drawing after some easy examples, and by doing so, as quickly as possible opening the eyes for the rules of Perspective, in order for them to learn the Perspective simultaneously with the Drawing;

In English, this term is translated as: 'proportion of augmentation and diminuition'. The second part of this section is not included in the English translation. [MO]

Conceptual field(s)

L’ARTISTE → apprentissage
CONCEPTS ESTHETIQUES → nature, imitation et vrai

{Tronien veel veranderingh onderworpen.} Men sal haer dan tot het stellen der Tronien en Hoofden, welcke wel de meeste veranderingh onderworpen zijn, aenvoeren, en daer in voor eerst van het Ovael ofte Ey-ront, met allerhande verwisselinge van het kruys onderricht geven, op datse alsoo het verdraeyen allerhande Tronien, volgens het aenwijsen eeniger Teycken-boecken, of andere vertoogh schetsen, diemen haer komt voor te stellen, mochten leeren verstaen:

terms translations

[suggested translation, Marije Osnabrugge:] {Faces are subject to much change.} Then one should lead them towards the composing of Faces and heads, which are subject to the most change, and therein foremost provide education about the Oval or Egg-round, with different changes of the cross, in order for them to learn to understand that way the movement of all sorts of Faces, following the explanation of some Drawing-books, or other explanatory sketches, which one introduces to them:

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
terms translations

[suggested translation, Marije Osnabrugge:] {Faces are subject to much change.} Then one should lead them towards the composing of Faces and heads, which are subject to the most change, and therein foremost provide education about the Oval or Egg-round, with different changes of the cross, in order for them to learn to understand that way the movement of all sorts of Faces, following the explanation of some Drawing-books, or other explanatory sketches, which one introduces to them:

In the English translation, there is no reference to drawing books. Instead, the translator refers the reader to the examples at the end of the book. This large series of examples is indeed particular for the English translation and absent in the German and Dutch books. [MO]

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] {Faces are subject to much change.} Then one should lead them towards the composing of Faces and heads, which are subject to the most change, and therein foremost provide education about the Oval or Egg-round, with different changes of the cross, in order for them to learn to understand that way the movement of all sorts of Faces, following the explanation of some Drawing-books, or other explanatory sketches, which one introduces to them:

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps

[…] want men sal in het Teyckenen (so na Teyckeningen, Printen, Schilderyen, en ’t Leven) bevinden, dat het eene Hooft ten opsicht van ’t andere in ommetreck veel verschilt, invoegen datmen sommige langwerpiger, andere breeder en rondtachtiger, dese boven breet, onder scherp, gene wederom onder breedachtigh en boven platachtigh, en soo voorts, ghelijck wy daer van by de Anatomische wel twaelf verscheiden formen hebben opgetelt gevonden, die elck al in verscheyde Trappen, d’een min d’ander meer Ovaels waeren:

terms translations

[suggested translation, Marije Osnabrugge:] […] as one will find in Drawing (both after Drawings, Prints, Paintings and the Life), that one Head differs greatly from the other with regard to its contour, that is some are longer, others wider and rounder, these are wide at the top, narrow below, others at the other hand wide below and at the top flat, etcetera, like we have found even twelve different shapes amongst the Anatomical, of which some were more and others less Oval:

This section is not included in the English translation. [MO]

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
terms translations

[suggested translation, Marije Osnabrugge:] […] as one will find in Drawing (both after Drawings, Prints, Paintings and the Life), that one Head differs greatly from the other with regard to its contour, that is some are longer, others wider and rounder, these are wide at the top, narrow below, others at the other hand wide below and at the top flat, etcetera, like we have found even twelve different shapes amongst the Anatomical, of which some were more and others less Oval:

This section is not included in the English translation. [MO]

Conceptual field(s)

{Nuttigheyt van dese onderwijsing.} Dit dan de Leerlinghen eens wel inghescherpt ende van haer verstaen zijnde, sullen terstont selfs uyt de Geest, allerhande verkiesinghe van fraeye Tronien, met verstant na de reden, Meesterachtigh weten te schetsen en veerdigh aen te wijsen: Daer sy anders na een platte af-teyckeninghe al doende niet en weten watse doen, noch waer toe dat het zijn ooghmerck heeft;

terms translations

[suggested translation, Marije Osnabrugge:] {Use of this instruction.} Once this has been imprinted in the Pupils and understood by them, they will soon be able to sketch masterfully and competently point out different sorts of beautiful Faces, with knowledge of the reason, from the Mind: Where otherwise they would not know what they are doing after a flat copy, nor what its use is;

Conceptual field(s)

CONCEPTS ESTHETIQUES → génie, esprit, imagination
terms translations

[suggested translation, Marije Osnabrugge:] {Use of this instruction.} Once this has been imprinted in the Pupils and understood by them, they will soon be able to sketch masterfully and competently point out different sorts of beautiful Faces, with knowledge of the reason, from the Mind: Where otherwise they would not know what they are doing after a flat copy, nor what its use is;

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] {Use of this instruction.} Once this has been imprinted in the Pupils and understood by them, they will soon be able to sketch masterfully and competently point out different sorts of beautiful Faces, with knowledge of the reason, from the Mind: Where otherwise they would not know what they are doing after a flat copy, nor what its use is;

Conceptual field(s)

L’ARTISTE → qualités
L’ARTISTE → apprentissage

{Aenden Meester en ’t goet onderwijs veel gelegen.} Dies wy in ’t voorby gaen, hier niet wel konnen na-laten aen te mercken,  hoe veel daer is gelegen aen een goede onderwijsinghe, en daerom diende wel acht gegeven te worden om sich eenen goede Meester te verkiesen, die te gelijck een goede maniere van onderwijsinghe, en een brave kennis en handelingh van Teyckenen heeft: want de Wagen gaet ghemeenlijck soo, als den Voerman gestelt is. Ten gaet oock niet altijdt seecker dat groote Meesters goede onderwijsers zijn, maer gheluckigh zijnse die beyde dese deughden in sijnen Meester vint:

terms translations

[suggested translation, Marije Osnabrugge:] {Much depends on the Master and the good instruction.} We cannot neglect to remark here, how much of it depends on the good instruction, and therefore one should pay good attention to select a good Master, who simultaneously has a good manner of teaching and a good knowledge and manner of Drawing: because usually the wagon goes the way the conductor is placed. Moreover, it is not always certain that great Masters are good teachers, but lucky are those who find both virtues in their Master:

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] {Much depends on the Master and the good instruction.} We cannot neglect to remark here, how much of it depends on the good instruction, and therefore one should pay good attention to select a good Master, who simultaneously has a good manner of teaching and a good knowledge and manner of Drawing: because usually the wagon goes the way the conductor is placed. Moreover, it is not always certain that great Masters are good teachers, but lucky are those who find both virtues in their Master:

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] {Much depends on the Master and the good instruction.} We cannot neglect to remark here, how much of it depends on the good instruction, and therefore one should pay good attention to select a good Master, who simultaneously has a good manner of teaching and a good knowledge and manner of Drawing: because usually the wagon goes the way the conductor is placed. Moreover, it is not always certain that great Masters are good teachers, but lucky are those who find both virtues in their Master:

Conceptual field(s)

L’ARTISTE → apprentissage

{’t Verstandigh onderwijs voor de Leerlingen best.} ’t Verstandigh onderwijs, sal de leerlinck het voordeelighste zijn; wat de groote Meesterschap aengaet, die moet eyndelingh na het oeffenen van soodanige goede onderwijsinge uyt de aengeboorne natuer komen.

terms translations

[suggested translation, Marije Osnabrugge:] {Sensible instruction is best for the Pupils.} Sensible instruction will be most beneficial for the Pupil; concerning the great Mastery, it will eventually emerge from the innate nature after the practicing of such good instruction.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] {Sensible instruction is best for the Pupils.} Sensible instruction will be most beneficial for the Pupil; concerning the great Mastery, it will eventually emerge from the innate nature after the practicing of such good instruction.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] {Sensible instruction is best for the Pupils.} Sensible instruction will be most beneficial for the Pupil; concerning the great Mastery, it will eventually emerge from the innate nature after the practicing of such good instruction.

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] {Sensible instruction is best for the Pupils.} Sensible instruction will be most beneficial for the Pupil; concerning the great Mastery, it will eventually emerge from the innate nature after the practicing of such good instruction.

Conceptual field(s)

L’ARTISTE → apprentissage

{Opmerking over de Volg-Konst.} Staet oock noch voor af, aen te mercken datmen de Kinderen door de Konst van navolgingh of nabotsingh tot alles dat de Schilder-Konst aengaet, kan aenleyden, want dewijl het onmogelijck is alles dat de Teycken-kunde vermagh te doen, in ‘t bysonder voor te schrijven, soo brenght de Volgh-kunst, de Teycken-kunde een bysondere algemeene hulpe toe. Waer vintmen doch eenen Schilder (seyt Quintilianus), die alles ’t gene inde natuere voorvalt, heeft leeren af-teyckenen, nochtans en vint een konstigh Meester die de rechte maniere van navolgingh heeft, sich noyt verlegen, alles wat hem voorkomt, aerdigh af te beelden. Na datwe dan nu de Jonge Leerlingen, volgens d’onderwijsinge vande kleyne begintselen hebben leeren aen stoelen en bancken gaen, en datse door de eerse wijse van doen, het beginstel van navolgingh hebben verkreghen, soo moet men haer seer neerstigh en langhe besigh houden in het na-teyckenen van goede, welgehandelde en uytvoerighe Teyckeningen, welcke wy oordeelen veel nutter en bequamer te zijn dan eenige Print-kunst; {Teyckenen na Teyckeningen seer nut.} de reden daer van is om datse in een goede Teyckeningh niet alleen en sien de schickinghe, vaste Teyckeningh, verstandighe witheydt der omtrecken, dagh en schaduwe, toetsen en hooghsels, maer sy sien daer met eenen oock de maniere van handelinghe en Teyckenachtighen aert, ’t welcke sy in een Print niet en sien, en by gevolgh daer oock niet uyt leeren konnen, dan met langen tijdt en grooten verdrietigen arbeyt, sonder dickwils een vaste maniere te bekomen, maer maecken dat hunne dingen nu sus, dan soo, luck raeck, komen uyt te vallen.

terms translations

[suggested translation, Marije Osnabrugge:] {Remark about the Art of Imitation.} Beforehand we should point out that one can stimulate Children to anything that concerns the Art of Painting by means of the Art of following or imitation, because although it is impossible to prescribe everything that the Art of Drawing entails separately, as such the Art of Imitation gives great assistance to the Art of Drawing. Where can one find a Painter (says Quintilian), who has learned to draw everything that occurs in nature, yet an artful Master who has the right manner of imitation is never wanting to nicely depict all that occurs to him. After we have gotten the young pupils going with the instruction of the small principles of imitation, and that they have obtained the principle of imitation by this first action, as such they should be kept busy diligently and long with the drawing after good well-executed and comprehensive Drawings, which we believe to be much more useful and adequate than any Art of Print; {Drawing after Drawings is very useful.} the reason for this is that in a good Drawing they will not only see the composition, steady Drawing, sensible whiteness of the contours, light and shadow, touches and highlights, but they will also see the manner of treatment and nature of drawing, which they cannot see and therefore cannot learn from a Print, except after a long time and great sad labour, often without obtaining a steady manner, causing that their things will sometimes occur like this or that, haphazardly.

This section is not included in the English translation. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Remark about the Art of Imitation.} Beforehand we should point out that one can stimulate Children to anything that concerns the Art of Painting by means of the Art of following or imitation, because although it is impossible to prescribe everything that the Art of Drawing entails separately, as such the Art of Imitation gives great assistance to the Art of Drawing. Where can one find a Painter (says Quintilian), who has learned to draw everything that occurs in nature, yet an artful Master who has the right manner of imitation is never wanting to nicely depict all that occurs to him. After we have gotten the young pupils going with the instruction of the small principles of imitation, and that they have obtained the principle of imitation by this first action, as such they should be kept busy diligently and long with the drawing after good well-executed and comprehensive Drawings, which we believe to be much more useful and adequate than any Art of Print; {Drawing after Drawings is very useful.} the reason for this is that in a good Drawing they will not only see the composition, steady Drawing, sensible whiteness of the contours, light and shadow, touches and highlights, but they will also see the manner of treatment and nature of drawing, which they cannot see and therefore cannot learn from a Print, except after a long time and great sad labour, often without obtaining a steady manner, causing that their things will sometimes occur like this or that, haphazardly.

This section is not included in the English translation. [MO]

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] {Remark about the Art of Imitation.} Beforehand we should point out that one can stimulate Children to anything that concerns the Art of Painting by means of the Art of following or imitation, because although it is impossible to prescribe everything that the Art of Drawing entails separately, as such the Art of Imitation gives great assistance to the Art of Drawing. Where can one find a Painter (says Quintilian), who has learned to draw everything that occurs in nature, yet an artful Master who has the right manner of imitation is never wanting to nicely depict all that occurs to him. After we have gotten the young pupils going with the instruction of the small principles of imitation, and that they have obtained the principle of imitation by this first action, as such they should be kept busy diligently and long with the drawing after good well-executed and comprehensive Drawings, which we believe to be much more useful and adequate than any Art of Print; {Drawing after Drawings is very useful.} the reason for this is that in a good Drawing they will not only see the composition, steady Drawing, sensible whiteness of the contours, light and shadow, touches and highlights, but they will also see the manner of treatment and nature of drawing, which they cannot see and therefore cannot learn from a Print, except after a long time and great sad labour, often without obtaining a steady manner, causing that their things will sometimes occur like this or that, haphazardly.

This section is not included in the English translation. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
CONCEPTION DE LA PEINTURE → couleur
terms translations

[suggested translation, Marije Osnabrugge:] {Remark about the Art of Imitation.} Beforehand we should point out that one can stimulate Children to anything that concerns the Art of Painting by means of the Art of following or imitation, because although it is impossible to prescribe everything that the Art of Drawing entails separately, as such the Art of Imitation gives great assistance to the Art of Drawing. Where can one find a Painter (says Quintilian), who has learned to draw everything that occurs in nature, yet an artful Master who has the right manner of imitation is never wanting to nicely depict all that occurs to him. After we have gotten the young pupils going with the instruction of the small principles of imitation, and that they have obtained the principle of imitation by this first action, as such they should be kept busy diligently and long with the drawing after good well-executed and comprehensive Drawings, which we believe to be much more useful and adequate than any Art of Print; {Drawing after Drawings is very useful.} the reason for this is that in a good Drawing they will not only see the composition, steady Drawing, sensible whiteness of the contours, light and shadow, touches and highlights, but they will also see the manner of treatment and nature of drawing, which they cannot see and therefore cannot learn from a Print, except after a long time and great sad labour, often without obtaining a steady manner, causing that their things will sometimes occur like this or that, haphazardly.

This section is not included in the English translation. [MO]

navolgingh · volgh-kunst

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] {Remark about the Art of Imitation.} Beforehand we should point out that one can stimulate Children to anything that concerns the Art of Painting by means of the Art of following or imitation, because although it is impossible to prescribe everything that the Art of Drawing entails separately, as such the Art of Imitation gives great assistance to the Art of Drawing. Where can one find a Painter (says Quintilian), who has learned to draw everything that occurs in nature, yet an artful Master who has the right manner of imitation is never wanting to nicely depict all that occurs to him. After we have gotten the young pupils going with the instruction of the small principles of imitation, and that they have obtained the principle of imitation by this first action, as such they should be kept busy diligently and long with the drawing after good well-executed and comprehensive Drawings, which we believe to be much more useful and adequate than any Art of Print; {Drawing after Drawings is very useful.} the reason for this is that in a good Drawing they will not only see the composition, steady Drawing, sensible whiteness of the contours, light and shadow, touches and highlights, but they will also see the manner of treatment and nature of drawing, which they cannot see and therefore cannot learn from a Print, except after a long time and great sad labour, often without obtaining a steady manner, causing that their things will sometimes occur like this or that, haphazardly.

This section is not included in the English translation. [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] {Remark about the Art of Imitation.} Beforehand we should point out that one can stimulate Children to anything that concerns the Art of Painting by means of the Art of following or imitation, because although it is impossible to prescribe everything that the Art of Drawing entails separately, as such the Art of Imitation gives great assistance to the Art of Drawing. Where can one find a Painter (says Quintilian), who has learned to draw everything that occurs in nature, yet an artful Master who has the right manner of imitation is never wanting to nicely depict all that occurs to him. After we have gotten the young pupils going with the instruction of the small principles of imitation, and that they have obtained the principle of imitation by this first action, as such they should be kept busy diligently and long with the drawing after good well-executed and comprehensive Drawings, which we believe to be much more useful and adequate than any Art of Print; {Drawing after Drawings is very useful.} the reason for this is that in a good Drawing they will not only see the composition, steady Drawing, sensible whiteness of the contours, light and shadow, touches and highlights, but they will also see the manner of treatment and nature of drawing, which they cannot see and therefore cannot learn from a Print, except after a long time and great sad labour, often without obtaining a steady manner, causing that their things will sometimes occur like this or that, haphazardly.

This section is not included in the English translation. [MO]

nabotsingh · volgh-kunst

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] {Remark about the Art of Imitation.} Beforehand we should point out that one can stimulate Children to anything that concerns the Art of Painting by means of the Art of following or imitation, because although it is impossible to prescribe everything that the Art of Drawing entails separately, as such the Art of Imitation gives great assistance to the Art of Drawing. Where can one find a Painter (says Quintilian), who has learned to draw everything that occurs in nature, yet an artful Master who has the right manner of imitation is never wanting to nicely depict all that occurs to him. After we have gotten the young pupils going with the instruction of the small principles of imitation, and that they have obtained the principle of imitation by this first action, as such they should be kept busy diligently and long with the drawing after good well-executed and comprehensive Drawings, which we believe to be much more useful and adequate than any Art of Print; {Drawing after Drawings is very useful.} the reason for this is that in a good Drawing they will not only see the composition, steady Drawing, sensible whiteness of the contours, light and shadow, touches and highlights, but they will also see the manner of treatment and nature of drawing, which they cannot see and therefore cannot learn from a Print, except after a long time and great sad labour, often without obtaining a steady manner, causing that their things will sometimes occur like this or that, haphazardly.

This section is not included in the English translation. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] {Remark about the Art of Imitation.} Beforehand we should point out that one can stimulate Children to anything that concerns the Art of Painting by means of the Art of following or imitation, because although it is impossible to prescribe everything that the Art of Drawing entails separately, as such the Art of Imitation gives great assistance to the Art of Drawing. Where can one find a Painter (says Quintilian), who has learned to draw everything that occurs in nature, yet an artful Master who has the right manner of imitation is never wanting to nicely depict all that occurs to him. After we have gotten the young pupils going with the instruction of the small principles of imitation, and that they have obtained the principle of imitation by this first action, as such they should be kept busy diligently and long with the drawing after good well-executed and comprehensive Drawings, which we believe to be much more useful and adequate than any Art of Print; {Drawing after Drawings is very useful.} the reason for this is that in a good Drawing they will not only see the composition, steady Drawing, sensible whiteness of the contours, light and shadow, touches and highlights, but they will also see the manner of treatment and nature of drawing, which they cannot see and therefore cannot learn from a Print, except after a long time and great sad labour, often without obtaining a steady manner, causing that their things will sometimes occur like this or that, haphazardly.

This section is not included in the English translation. [MO]

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] {Remark about the Art of Imitation.} Beforehand we should point out that one can stimulate Children to anything that concerns the Art of Painting by means of the Art of following or imitation, because although it is impossible to prescribe everything that the Art of Drawing entails separately, as such the Art of Imitation gives great assistance to the Art of Drawing. Where can one find a Painter (says Quintilian), who has learned to draw everything that occurs in nature, yet an artful Master who has the right manner of imitation is never wanting to nicely depict all that occurs to him. After we have gotten the young pupils going with the instruction of the small principles of imitation, and that they have obtained the principle of imitation by this first action, as such they should be kept busy diligently and long with the drawing after good well-executed and comprehensive Drawings, which we believe to be much more useful and adequate than any Art of Print; {Drawing after Drawings is very useful.} the reason for this is that in a good Drawing they will not only see the composition, steady Drawing, sensible whiteness of the contours, light and shadow, touches and highlights, but they will also see the manner of treatment and nature of drawing, which they cannot see and therefore cannot learn from a Print, except after a long time and great sad labour, often without obtaining a steady manner, causing that their things will sometimes occur like this or that, haphazardly.

This section is not included in the English translation. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] {Remark about the Art of Imitation.} Beforehand we should point out that one can stimulate Children to anything that concerns the Art of Painting by means of the Art of following or imitation, because although it is impossible to prescribe everything that the Art of Drawing entails separately, as such the Art of Imitation gives great assistance to the Art of Drawing. Where can one find a Painter (says Quintilian), who has learned to draw everything that occurs in nature, yet an artful Master who has the right manner of imitation is never wanting to nicely depict all that occurs to him. After we have gotten the young pupils going with the instruction of the small principles of imitation, and that they have obtained the principle of imitation by this first action, as such they should be kept busy diligently and long with the drawing after good well-executed and comprehensive Drawings, which we believe to be much more useful and adequate than any Art of Print; {Drawing after Drawings is very useful.} the reason for this is that in a good Drawing they will not only see the composition, steady Drawing, sensible whiteness of the contours, light and shadow, touches and highlights, but they will also see the manner of treatment and nature of drawing, which they cannot see and therefore cannot learn from a Print, except after a long time and great sad labour, often without obtaining a steady manner, causing that their things will sometimes occur like this or that, haphazardly.

This section is not included in the English translation. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
CONCEPTION DE LA PEINTURE → couleur
terms translations

[suggested translation, Marije Osnabrugge:] {Remark about the Art of Imitation.} Beforehand we should point out that one can stimulate Children to anything that concerns the Art of Painting by means of the Art of following or imitation, because although it is impossible to prescribe everything that the Art of Drawing entails separately, as such the Art of Imitation gives great assistance to the Art of Drawing. Where can one find a Painter (says Quintilian), who has learned to draw everything that occurs in nature, yet an artful Master who has the right manner of imitation is never wanting to nicely depict all that occurs to him. After we have gotten the young pupils going with the instruction of the small principles of imitation, and that they have obtained the principle of imitation by this first action, as such they should be kept busy diligently and long with the drawing after good well-executed and comprehensive Drawings, which we believe to be much more useful and adequate than any Art of Print; {Drawing after Drawings is very useful.} the reason for this is that in a good Drawing they will not only see the composition, steady Drawing, sensible whiteness of the contours, light and shadow, touches and highlights, but they will also see the manner of treatment and nature of drawing, which they cannot see and therefore cannot learn from a Print, except after a long time and great sad labour, often without obtaining a steady manner, causing that their things will sometimes occur like this or that, haphazardly.

This section is not included in the English translation. [MO]

nabotsingh · navolgingh

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

{Nader bericht aengaende het Teyckenen na printen.} In ’t voor-by-gaen dient oock aen-gemerckt, dat wy niet en Ordeelen dat het Teyckenen na Printen absoluyt ongeraden is, neen seecker, maer wy seggen in tegendeel dat het voor die gene welcke alreede een goede handelingh hebben bekomen, en wat op haer eyghen beenen beginnen te staen, haer Werck wel mogen maecken van seer veel na Printen te Teyckenen, ja alles wat hun fraeys voor komt na te Teyckenen, en sonder op-houden daer na te studeeren; {Nuttigheyt hier van.} niet juyst geheele Printen (ten sy die dat waerdigh zijn) maer het gene daer bysonders mochte in wesen, ’t sy fraye Beelden, aerdighe en antique Kleedinghen die verstandigh en seecker gheployt zijn, wel-bedachte en Werckelijcke actien en wat dies meer is, daer toe nemenede de onkostelijcksten tijt, als Winterse-avonden en vroegen Morgen-stonden, insonderheydt alsmen den dagh tot andere studien, ’t sy van Ordineeren of Schilderen kan besteden; en dit moetmen alles te dien eynde doen, op datmen door het gheduerigh na teyckenen van fraye dinghen, vast en volkomen mochte worden, en den Geest allenghskens vol fraye gedachten drucken welcke maniere van doen evenwel van sommige (doch ten onrechten en sonder reden) wert tegen gesproocken.

terms translations

[suggested translation, Marije Osnabrugge:] {More information regarding drawing after prints.} In passing we should also remark that we do not believe that the Drawing after Prints is completely unadvisable, certainly not, but we say to the contrary that for those who have already obtained a good manner, and are starting to stand on their own two feet, they may certainly focus on drawing a lot after prints, yes drawing after everything that seems beautiful to them, without limitations; {Use of this.} not necessarily whole Prints (unless they are worth it) but those things that are special in them, be it beautiful Figures, nice and antique Clothing that are sensibly and convincingly folded, well-conceived and True actions and what else, taking free time for it, such as Winter evenings and early mornings, especially if one can dedicate the daytime to other studies, either Composing or Painting; and one should do all this with the objective that one might become steady and perfect through lengthily drawing after beautiful things, and imprint the Mind gradually full of beautiful thoughts, which manner of doing is still opposed (albeit undeservedly and without reason) by some.

Goeree discerns different types of drawing and gives ample advice and commentary. Here he discusses the practice of drawing after prints. This section is rather different in the English translation. [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → génie, esprit, imagination
terms translations

[suggested translation, Marije Osnabrugge:] {More information regarding drawing after prints.} In passing we should also remark that we do not believe that the Drawing after Prints is completely unadvisable, certainly not, but we say to the contrary that for those who have already obtained a good manner, and are starting to stand on their own two feet, they may certainly focus on drawing a lot after prints, yes drawing after everything that seems beautiful to them, without limitations; {Use of this.} not necessarily whole Prints (unless they are worth it) but those things that are special in them, be it beautiful Figures, nice and antique Clothing that are sensibly and convincingly folded, well-conceived and True actions and what else, taking free time for it, such as Winter evenings and early mornings, especially if one can dedicate the daytime to other studies, either Composing or Painting; and one should do all this with the objective that one might become steady and perfect through lengthily drawing after beautiful things, and imprint the Mind gradually full of beautiful thoughts, which manner of doing is still opposed (albeit undeservedly and without reason) by some.

Goeree discerns different types of drawing and gives ample advice and commentary. Here he discusses the practice of drawing after prints. This section is rather different in the English translation. [MO]

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] {More information regarding drawing after prints.} In passing we should also remark that we do not believe that the Drawing after Prints is completely unadvisable, certainly not, but we say to the contrary that for those who have already obtained a good manner, and are starting to stand on their own two feet, they may certainly focus on drawing a lot after prints, yes drawing after everything that seems beautiful to them, without limitations; {Use of this.} not necessarily whole Prints (unless they are worth it) but those things that are special in them, be it beautiful Figures, nice and antique Clothing that are sensibly and convincingly folded, well-conceived and True actions and what else, taking free time for it, such as Winter evenings and early mornings, especially if one can dedicate the daytime to other studies, either Composing or Painting; and one should do all this with the objective that one might become steady and perfect through lengthily drawing after beautiful things, and imprint the Mind gradually full of beautiful thoughts, which manner of doing is still opposed (albeit undeservedly and without reason) by some.

Goeree discerns different types of drawing and gives ample advice and commentary. Here he discusses the practice of drawing after prints. This section is rather different in the English translation. [MO]

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] {More information regarding drawing after prints.} In passing we should also remark that we do not believe that the Drawing after Prints is completely unadvisable, certainly not, but we say to the contrary that for those who have already obtained a good manner, and are starting to stand on their own two feet, they may certainly focus on drawing a lot after prints, yes drawing after everything that seems beautiful to them, without limitations; {Use of this.} not necessarily whole Prints (unless they are worth it) but those things that are special in them, be it beautiful Figures, nice and antique Clothing that are sensibly and convincingly folded, well-conceived and True actions and what else, taking free time for it, such as Winter evenings and early mornings, especially if one can dedicate the daytime to other studies, either Composing or Painting; and one should do all this with the objective that one might become steady and perfect through lengthily drawing after beautiful things, and imprint the Mind gradually full of beautiful thoughts, which manner of doing is still opposed (albeit undeservedly and without reason) by some.

Goeree discerns different types of drawing and gives ample advice and commentary. Here he discusses the practice of drawing after prints. This section is rather different in the English translation. [MO]

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

{Teykenen na Schilderyen.} De Jonckheydt nu in het Na-teyckenen haer besich houdende, salmen hun daer in al van lichter tot swaerder overbrenghen; en dien trap opgeklavert zijnde, haer aenleyden tot het Na-teyckenen van goede en welgeteyckende Schilderyen, en die salmen haer laten van ’t groot in een kleyne proportie brengen, oock wel van kleyn somtijts een laten vergrooten, waer door sy terstont leeren gissen, en een vaste stellinge krijgen. {Vereyst meerder kennis.} En gelijck als dit den tweeden trap is, soo is sy oock swaerder en vereyst meerder kennis en oordeel: Want in een Schilderye en vintmen noch wissigheydt van ommetreck door trecken, noch manniere van Teyckenen, noch licht en licht (dat inde verscheyde Colorijten schuylt) duydelijck aenghewesen. En dewijlmen in dit Teyckenen de juyste ghelijckheyt van doncker en licht door eenerley stoffe moet uyt-beelden, soo zijn daer in verscheyden opmerckingen van nooden, om de houdinge, ofte het behoorlijck voor en achter uyt wijcken, dat in een Schilderye is, oock in een Teyckeningh te brengen, […]

terms translations

[suggested translation, Marije Osnabrugge:] {Drawing after Paintings.} While the youth is busying itself with Drawing after [ndr. things], one should lead them from easy to harder; and once they have climbed this staircase, stimulate them to draw after good and well-drawn Paintings, and one should make them convert these from a great to a small format, sometimes let them enlarge them from the small [ndr. format], through which they will quickly learn to guess and obtain a steady composition. {It demands more knowledge.} And as this is the second step, it is more difficult and requires more knowledge and judgement: Because in a Painting one does not find exactness of the contours through strokes clearly defined, nor the manner of Drawing, nor light and light (which hides in different colors). And while in Drawing one has to depict the right balance between dark and light by means of one material, as such several observations are necessary, to acquire in a Drawing the balance of colors, or decent advancing or detracting, which is in a Painting, […]

I have chosen to translate ‘houding’ with ‘balance of colors’ for this translation. [MO]

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] {Drawing after Paintings.} While the youth is busying itself with Drawing after [ndr. things], one should lead them from easy to harder; and once they have climbed this staircase, stimulate them to draw after good and well-drawn Paintings, and one should make them convert these from a great to a small format, sometimes let them enlarge them from the small [ndr. format], through which they will quickly learn to guess and obtain a steady composition. {It demands more knowledge.} And as this is the second step, it is more difficult and requires more knowledge and judgement: Because in a Painting one does not find exactness of the contours through strokes clearly defined, nor the manner of Drawing, nor light and light (which hides in different colors). And while in Drawing one has to depict the right balance between dark and light by means of one material, as such several observations are necessary, to acquire in a Drawing the balance of colors, or decent advancing or detracting, which is in a Painting, […]

I have chosen to translate ‘houding’ with ‘balance of colors’ for this translation. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Drawing after Paintings.} While the youth is busying itself with Drawing after [ndr. things], one should lead them from easy to harder; and once they have climbed this staircase, stimulate them to draw after good and well-drawn Paintings, and one should make them convert these from a great to a small format, sometimes let them enlarge them from the small [ndr. format], through which they will quickly learn to guess and obtain a steady composition. {It demands more knowledge.} And as this is the second step, it is more difficult and requires more knowledge and judgement: Because in a Painting one does not find exactness of the contours through strokes clearly defined, nor the manner of Drawing, nor light and light (which hides in different colors). And while in Drawing one has to depict the right balance between dark and light by means of one material, as such several observations are necessary, to acquire in a Drawing the balance of colors, or decent advancing or detracting, which is in a Painting, […]

I have chosen to translate ‘houding’ with ‘balance of colors’ for this translation. [MO]

Conceptual field(s)

L’ARTISTE → apprentissage
CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] {Drawing after Paintings.} While the youth is busying itself with Drawing after [ndr. things], one should lead them from easy to harder; and once they have climbed this staircase, stimulate them to draw after good and well-drawn Paintings, and one should make them convert these from a great to a small format, sometimes let them enlarge them from the small [ndr. format], through which they will quickly learn to guess and obtain a steady composition. {It demands more knowledge.} And as this is the second step, it is more difficult and requires more knowledge and judgement: Because in a Painting one does not find exactness of the contours through strokes clearly defined, nor the manner of Drawing, nor light and light (which hides in different colors). And while in Drawing one has to depict the right balance between dark and light by means of one material, as such several observations are necessary, to acquire in a Drawing the balance of colors, or decent advancing or detracting, which is in a Painting, […]

I have chosen to translate ‘houding’ with ‘balance of colors’ for this translation. [MO]

Conceptual field(s)

L’ARTISTE → qualités
SPECTATEUR → jugement
terms translations

[suggested translation, Marije Osnabrugge:] {Drawing after Paintings.} While the youth is busying itself with Drawing after [ndr. things], one should lead them from easy to harder; and once they have climbed this staircase, stimulate them to draw after good and well-drawn Paintings, and one should make them convert these from a great to a small format, sometimes let them enlarge them from the small [ndr. format], through which they will quickly learn to guess and obtain a steady composition. {It demands more knowledge.} And as this is the second step, it is more difficult and requires more knowledge and judgement: Because in a Painting one does not find exactness of the contours through strokes clearly defined, nor the manner of Drawing, nor light and light (which hides in different colors). And while in Drawing one has to depict the right balance between dark and light by means of one material, as such several observations are necessary, to acquire in a Drawing the balance of colors, or decent advancing or detracting, which is in a Painting, […]

I have chosen to translate ‘houding’ with ‘balance of colors’ for this translation. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité du dessin

{Teykenen na ront boetseer en Plaester-werck.} Dus soo sal het dan ten hooghsten van nooden wesen te recommandeeren het Teyckenen na ront Werck, het sy Geboetseert ofte Playster-Werck van goede Meesters, welcke wy in onse dagen voor eengeringen Prijs konnen bekomen: Daer van wy wel eenige vande gemeenste Beelden souden konnen op-tellen, als daer zijn alle de dingen van Francisco, die een menighte van fraeye Kinderkens ghemaeckt heeft, oock sijnen Gladiator dat een uytnement schoon Beeldt is, de Roof van de Sabine van Ian de Bolonge. Den Laocôôn; de Worstelaers, de Grieckse Venus, den Hercules, den Hermes, de Anatomie Mannen van verscheyden actien; oock eenighe Beesten als Paerden, Ossen, Koeytjens, Leeuwen, Honden en diergelijcke, die oock als nut en noodigh zijn; (…) {Teyckenen na Playster geeft aenleydingh tot het leven.} De reden waerom het Teyckenen naer Playster soo noodig is, is om dat het tot een aenleydinge van het leven kan dienen: En gelijck als het Teyckenen na Schilderyen swaerder is als na Teyckeningen om reden als geseyt is, soo is oock het Teyckenen na Playster, swaerder als na Schilderye, om datmen in het Playster de wissigheyt van de omtrecken, minder dan in een Schilderye, noch de bepalinge van licht en schaduwe, soodanigh niet en siet aengewesen, als wel in een Schilderye of Teyckeningh;

terms translations

[suggested translation, Marije Osnabrugge:] {Drawing after round modeling and Plaster work.} As such it is highly necessary to recommend the Drawing after round work, be it modeled or in plaster, by good Masters, which we can nowadays acquire for a low Price: Of which we could list some of the most common Statues, such as all things by Francisco [ndr.: François Duquesnoy], who has made a group of beautiful small children, and his Gladiator is a remarkably beautiful Statue, The Rape of the Sabine by Giambologna. The Laocoon; the Wrestlers, the Greek Venus, Hercules, Hermes, the Anatomical Men with different movements; as well as some Animals such as Horses, Oxes, Cowes, Lions, Dogs and such, that are also useful and necessary; (…) {Drawing after Plaster is an introduction to the life.} The reason why drawing after plaster is so necessary, is because it may serve as an introduction to the life: And just like Drawing after Paintings is more difficult than after Drawings for the aforementioned reason, as such the Drawing after Plaster is more difficult than after Painting, because in Plaster one does not so much have the certainty of the contours, less than in a Painting, nor the determination of light and shadow, pointed out, as [ndr: they are] in a Painting or Drawing;

Goeree discerns different types of drawing and gives ample advice and commentary. Here he discusses the practice of drawing after plaster casts and refers it to working after the two-dimensional example. I have not been able to identify all the ancient sculptures that are mentioned. Hercules could refer to the Hercules Farnese, but not necessarily. Similarly, the Hermes could be the Apollo Belvedere. [MO]

Conceptual field(s)

L’ARTISTE → apprentissage
PEINTURE, TABLEAU, IMAGE → définition du dessin

En deswegen seer noodigh, soo ras men de voor-gemelde dinghen eenigermaten verstaet, datmen sich begeeft tot het Teyckenen na ’t Leven, mits onder alle natuerlijcke Schepsels sich te oeffenen, in het na-teyckenen van dat heerlijcke Schepsel, het Menschen Beeldt {Menschen Beelt het voornaemste.}, in welcke de wijse God en Schepper van alle sienlijcke en onsienlijcke dingen, alles dat inde gantsche Weerelt is, als in een kort begrijp beslooten heeft.

terms translations

[suggested translation, Marije Osnabrugge:] And therefore it is very necessary, as soon as one somewhat understands the aforementioned things, that one moves to the Drawing after Life, besides practicing oneself with all natural Creatures, in the drawing after that delightful Creature, the Human Figure {The Human Figures is the principal thing.}, in which the wise God and Creator has contained all visible and invisible things, all that is in the whole World, as in a summary.

Goeree discerns different types of drawing and gives ample advice and commentary. Here he discusses the practice of drawing after the life. This section is somewhat different in the English translation, where the text places more emphasis on the diligence of the pupil. [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] And therefore it is very necessary, as soon as one somewhat understands the aforementioned things, that one moves to the Drawing after Life, besides practicing oneself with all natural Creatures, in the drawing after that delightful Creature, the Human Figure {The Human Figures is the principal thing.}, in which the wise God and Creator has contained all visible and invisible things, all that is in the whole World, as in a summary.

Goeree discerns different types of drawing and gives ample advice and commentary. Here he discusses the practice of drawing after the life. This section is somewhat different in the English translation, where the text places more emphasis on the diligence of the pupil. [MO]

teyckenen

Conceptual field(s)

L’ARTISTE → apprentissage
PEINTURE, TABLEAU, IMAGE → définition du dessin

{Laetdunckentheyt van sommige die wat beginnen te kunnen.} Doch voor al en moetmen sich niet laten voorstaen, alsmen wat begint te kunnen en te kennen, datmen genoegh kan, en dinghen dadelijck om tot de Pinceel over te gaen, willende nu een Schilder en geen Teyckenaer wesen, latende uyt dat insicht terstont het Teyckenen varen; Welcke onkundige laetdunckentheyt heden ten dage veel Jonge Schilders jammerlijck onder de voet hout; niet tegenstaende wy soo veel Exempelen van brave Meesters hebben, die geduerende haer gansche leven, hun weeckelijcke Collegien waer genomen, en hare Academy-beelden gheteyckent hebben: en dat niet te hoy en te gras, als ’t haer voorquam, maer tot aen het eynde van haer leven een gewoonte van veel Teyckenen hebben gemaeckt. Gelijck de menigte van brave Teyckeningen die soo nu als dan by ’t versterf van groote Meesters tevoorschijn komen, getuygen konnen.
’t Was oock voor desen een ghebruyck binnen Roomen, en het wert ‘er noch wel geoeffent, datmen de Jeught sesthien, achtien, ja somtijts twintigh Jaren langh niet en liet doen dan Teyckenen, sonder oyt Verw’ of Pinceel inde handt te nemen.

terms translations

[suggested translation, Marije Osnabrugge:] {Arrogance of some who are starting to be able to do something.} But most of all one should not pride oneself, once one begins to be able to do and know something, that one can do enough, and immediately move to the Brush, now wanting to be a Painter instead of a Draughtsman, letting go of Drawing from that perspective; Which incompetent arrogance nowadays regrettably bothers many young Painters; notwithstanding that we have so many Examples of good Masters, who during their entire life, have taken their weekly Colleges, and have drawn their Academy Figures: and all this not haphazardly, when they felt like it, but they have made a habit out of Drawing until the end of their lives. As the mass of good Drawings that now and then comes to light after the decease of great Masters, can bear witness. It used to be common in Rome, and it was practices a lot, that one did not allow the Youth to do anything else for sixteen, eighteen, yes sometimes twenty years long, than Drawing, without ever taking Paint or Brush in hand.

Conceptual field(s)

L’ARTISTE → apprentissage
PEINTURE, TABLEAU, IMAGE → définition du dessin
terms translations

[suggested translation, Marije Osnabrugge:] {Arrogance of some who are starting to be able to do something.} But most of all one should not pride oneself, once one begins to be able to do and know something, that one can do enough, and immediately move to the Brush, now wanting to be a Painter instead of a Draughtsman, letting go of Drawing from that perspective; Which incompetent arrogance nowadays regrettably bothers many young Painters; notwithstanding that we have so many Examples of good Masters, who during their entire life, have taken their weekly Colleges, and have drawn their Academy Figures: and all this not haphazardly, when they felt like it, but they have made a habit out of Drawing until the end of their lives. As the mass of good Drawings that now and then comes to light after the decease of great Masters, can bear witness. It used to be common in Rome, and it was practices a lot, that one did not allow the Youth to do anything else for sixteen, eighteen, yes sometimes twenty years long, than Drawing, without ever taking Paint or Brush in hand.

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] {Arrogance of some who are starting to be able to do something.} But most of all one should not pride oneself, once one begins to be able to do and know something, that one can do enough, and immediately move to the Brush, now wanting to be a Painter instead of a Draughtsman, letting go of Drawing from that perspective; Which incompetent arrogance nowadays regrettably bothers many young Painters; notwithstanding that we have so many Examples of good Masters, who during their entire life, have taken their weekly Colleges, and have drawn their Academy Figures: and all this not haphazardly, when they felt like it, but they have made a habit out of Drawing until the end of their lives. As the mass of good Drawings that now and then comes to light after the decease of great Masters, can bear witness. It used to be common in Rome, and it was practices a lot, that one did not allow the Youth to do anything else for sixteen, eighteen, yes sometimes twenty years long, than Drawing, without ever taking Paint or Brush in hand.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] {Arrogance of some who are starting to be able to do something.} But most of all one should not pride oneself, once one begins to be able to do and know something, that one can do enough, and immediately move to the Brush, now wanting to be a Painter instead of a Draughtsman, letting go of Drawing from that perspective; Which incompetent arrogance nowadays regrettably bothers many young Painters; notwithstanding that we have so many Examples of good Masters, who during their entire life, have taken their weekly Colleges, and have drawn their Academy Figures: and all this not haphazardly, when they felt like it, but they have made a habit out of Drawing until the end of their lives. As the mass of good Drawings that now and then comes to light after the decease of great Masters, can bear witness. It used to be common in Rome, and it was practices a lot, that one did not allow the Youth to do anything else for sixteen, eighteen, yes sometimes twenty years long, than Drawing, without ever taking Paint or Brush in hand.

Conceptual field(s)

L’ARTISTE → qualités

{Begin van stellingh.} Gist dan voor een begin, het midden van u Principael, dat hebbende, wijst dat met een stipken Kôôl op U Papier aen, dan neemt acht op de grootste Beelden (soo daer meer als een is) en merckt hoe hoogh, ofte wat ghedeelte sy van het Tafereel komen te beslaen; in welck speculeeren gy sult gewaer worden, dat het lange beschouwen dat ghy te vooren gedaen hebt, een wonder groot behulp komt te gheven, om hier door de juyste verdeelinge op u Papier te konnen gissen; {Waernemingh om sijn Ordineeringh wel te gissen.} tot welcken eynde het mede niet ondienstigh is, datmen sijn Papier, ofte daermen op Teyckenen wilt, ten naesten by deselve forme geve die het Tafereel, Print, of Teyckeningh heeft, wel te verstaen na proportie, daer of daer ontrent, langwerpigh of inde hooghte of vierkant, en dierghelijcke, maer is onnoodigh datmense juyst-vormigh af-line, ten sy by voorval, endat alles om beter de ordineringe volgens ’t Principael te konnen schicken, dat meest plaets neemt wanneermen kleyne dingen vergroot, of groote dingen verkleent. {Hoe sommige haer Principael met ruyten beslaen.} Hier toe soo gebruycken sommighe ruyten, daerse hun Principael mede overslaen, ende verdeelen van gelijcken haer Papier met gelijck getal van tralyen, om alsoo van ruyt tot ruyt alle dinghen op sijn behoorlijcke plaets te brengen; dat seer gemackelijck, maer als een Ezels-brugh, met kleen voordeel voor de Jonckheydt gebruyckt wort: {Misslagh daer van.} Want dewijle sy haer op dese Bies-bossen, of Swem-dobbers komen te verlaten, soo en krijgense nimmermeer geleerde Oogen in ’t hooft om selfs te konnen sien waer in de geheele kennis, en proportioneele aen een-bindingh van een schoon Beeldt, of Koppelinghe van een gansche ordinantie bestaet dewijl sy altijt (om met een woort de sake uyt te drucken) maer stucken en brocken leeren maecken, om dieswille datse door de tralyen en ruyt-lynien verhinderd worden, en de Oogen laten beguychelen,

terms translations

[suggested translation, Marije Osnabrugge:] {Start of the composition.} To start, guess the center of your original, once you have it, mark it with a dot of charcoal on your paper, then pay attention to the greatest Figures (if there is more than one) and notice how high, or which part of the Scene the cover; in which speculation you will become aware, that the long observation that you have done beforehand, will provide great assistance, to be able to guess the right distribution on your paper; {Observation to guess one’s composition well.} to which end it is also useful, that one gives the paper – or that on which one wants to draw – almost the same shape as the Painting, Print, or Drawing, of course in proportion, more or less oblong or high [ndr.: literally: in height] or square, and such, but it is unnecessary to copy it exactly, unless coincidentally, and all of this to be able to order the composition according to the Original, which takes most time when one enlarges small things or reduce big things. {How some cover the Original with a grid.} Some use a grid for this, with which they cover their Original, and similarly divide their Paper with an equal number of lines, to bring all things in the right place from field to field; that is used very easily, but like a mnemonic, with little advantage for the Youth: {Mistake of this.} Because while they come to depend on these tricks and floating devices, they will never get learned Eyes in their heads to see for themselves in which the complete knowledge and proportional connection of a beautiful Figure, or Coupling of a whole composition exists, while they always learn (to describe the situation with a word) to make parts and pieces, as they are obstructed by the grille and lines of the grid, and let their Eyes be deceived,

In the English translation, the section about the grid as a tool to transfer the composition from the original is not included. As a consequence, most selected terms are not present in the English text. [MO]

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → proportion
terms translations

[suggested translation, Marije Osnabrugge:] {Start of the composition.} To start, guess the center of your original, once you have it, mark it with a dot of charcoal on your paper, then pay attention to the greatest Figures (if there is more than one) and notice how high, or which part of the Scene the cover; in which speculation you will become aware, that the long observation that you have done beforehand, will provide great assistance, to be able to guess the right distribution on your paper; {Observation to guess one’s composition well.} to which end it is also useful, that one gives the paper – or that on which one wants to draw – almost the same shape as the Painting, Print, or Drawing, of course in proportion, more or less oblong or high [ndr.: literally: in height] or square, and such, but it is unnecessary to copy it exactly, unless coincidentally, and all of this to be able to order the composition according to the Original, which takes most time when one enlarges small things or reduce big things. {How some cover the Original with a grid.} Some use a grid for this, with which they cover their Original, and similarly divide their Paper with an equal number of lines, to bring all things in the right place from field to field; that is used very easily, but like a mnemonic, with little advantage for the Youth: {Mistake of this.} Because while they come to depend on these tricks and floating devices, they will never get learned Eyes in their heads to see for themselves in which the complete knowledge and proportional connection of a beautiful Figure, or Coupling of a whole composition exists, while they always learn (to describe the situation with a word) to make parts and pieces, as they are obstructed by the grille and lines of the grid, and let their Eyes be deceived,

In the English translation, the section about the grid as a tool to transfer the composition from the original is not included. As a consequence, most selected terms are not present in the English text. [MO]

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → groupe
CONCEPTION DE LA PEINTURE → composition
terms translations

[suggested translation, Marije Osnabrugge:] {Start of the composition.} To start, guess the center of your original, once you have it, mark it with a dot of charcoal on your paper, then pay attention to the greatest Figures (if there is more than one) and notice how high, or which part of the Scene the cover; in which speculation you will become aware, that the long observation that you have done beforehand, will provide great assistance, to be able to guess the right distribution on your paper; {Observation to guess one’s composition well.} to which end it is also useful, that one gives the paper – or that on which one wants to draw – almost the same shape as the Painting, Print, or Drawing, of course in proportion, more or less oblong or high [ndr.: literally: in height] or square, and such, but it is unnecessary to copy it exactly, unless coincidentally, and all of this to be able to order the composition according to the Original, which takes most time when one enlarges small things or reduce big things. {How some cover the Original with a grid.} Some use a grid for this, with which they cover their Original, and similarly divide their Paper with an equal number of lines, to bring all things in the right place from field to field; that is used very easily, but like a mnemonic, with little advantage for the Youth: {Mistake of this.} Because while they come to depend on these tricks and floating devices, they will never get learned Eyes in their heads to see for themselves in which the complete knowledge and proportional connection of a beautiful Figure, or Coupling of a whole composition exists, while they always learn (to describe the situation with a word) to make parts and pieces, as they are obstructed by the grille and lines of the grid, and let their Eyes be deceived,

In the English translation, the section about the grid as a tool to transfer the composition from the original is not included. As a consequence, most selected terms are not present in the English text. [MO]

Conceptual field(s)

SPECTATEUR → perception et regard
terms translations

[suggested translation, Marije Osnabrugge:] {Start of the composition.} To start, guess the center of your original, once you have it, mark it with a dot of charcoal on your paper, then pay attention to the greatest Figures (if there is more than one) and notice how high, or which part of the Scene the cover; in which speculation you will become aware, that the long observation that you have done beforehand, will provide great assistance, to be able to guess the right distribution on your paper; {Observation to guess one’s composition well.} to which end it is also useful, that one gives the paper – or that on which one wants to draw – almost the same shape as the Painting, Print, or Drawing, of course in proportion, more or less oblong or high [ndr.: literally: in height] or square, and such, but it is unnecessary to copy it exactly, unless coincidentally, and all of this to be able to order the composition according to the Original, which takes most time when one enlarges small things or reduce big things. {How some cover the Original with a grid.} Some use a grid for this, with which they cover their Original, and similarly divide their Paper with an equal number of lines, to bring all things in the right place from field to field; that is used very easily, but like a mnemonic, with little advantage for the Youth: {Mistake of this.} Because while they come to depend on these tricks and floating devices, they will never get learned Eyes in their heads to see for themselves in which the complete knowledge and proportional connection of a beautiful Figure, or Coupling of a whole composition exists, while they always learn (to describe the situation with a word) to make parts and pieces, as they are obstructed by the grille and lines of the grid, and let their Eyes be deceived,

In the English translation, the section about the grid as a tool to transfer the composition from the original is not included. As a consequence, most selected terms are not present in the English text. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
terms translations

[suggested translation, Marije Osnabrugge:] {Start of the composition.} To start, guess the center of your original, once you have it, mark it with a dot of charcoal on your paper, then pay attention to the greatest Figures (if there is more than one) and notice how high, or which part of the Scene the cover; in which speculation you will become aware, that the long observation that you have done beforehand, will provide great assistance, to be able to guess the right distribution on your paper; {Observation to guess one’s composition well.} to which end it is also useful, that one gives the paper – or that on which one wants to draw – almost the same shape as the Painting, Print, or Drawing, of course in proportion, more or less oblong or high [ndr.: literally: in height] or square, and such, but it is unnecessary to copy it exactly, unless coincidentally, and all of this to be able to order the composition according to the Original, which takes most time when one enlarges small things or reduce big things. {How some cover the Original with a grid.} Some use a grid for this, with which they cover their Original, and similarly divide their Paper with an equal number of lines, to bring all things in the right place from field to field; that is used very easily, but like a mnemonic, with little advantage for the Youth: {Mistake of this.} Because while they come to depend on these tricks and floating devices, they will never get learned Eyes in their heads to see for themselves in which the complete knowledge and proportional connection of a beautiful Figure, or Coupling of a whole composition exists, while they always learn (to describe the situation with a word) to make parts and pieces, as they are obstructed by the grille and lines of the grid, and let their Eyes be deceived,

In the English translation, the section about the grid as a tool to transfer the composition from the original is not included. As a consequence, most selected terms are not present in the English text. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition

{Uytvlucht voor een Meester om sijn ordinantie door ruyten op sijn Tafereel te brengen.} Wel is waer dat een goet Meester willende sijn Ordinancy die hy te vooren net en uytvoerigh heeft geteyckent op sijn Doeck of Tafereel brengen, deselve met ruyten slaen moghen, maer dat gheschiet meer om de veerdigheyt wille, dan om eenige andere reden, want hy, die te vooren met groote vlijt sijn Ordinantie in een Teyckeningh heeft konnen wel doen, kan sich verseeckeren, het op een Doeck oock te kunnen doen, indien hy den tijdt daer aen wil te koste hangen; dan die het andersins uyt de vuyst kan doen, en wil doen, hy sal geenen kleynder Meester daerom ghenoemt worden. {Een raemken te maecken datmen in alle voorval kan gebruycken.} Om nu oock noch de moeyten voor te komen van sijn Ordinantien of schetsen te door-kruyssen, of met draden t’elckens weder over te spannen, kanmen een vierkant raemken van een bequame groote nemen, en bespannen dat met gelijckwijdige ruyten, door swarte draden vlack tegen de onder-zijde aen, leght dan u Teyckeningh op een Panneelken dat even soo groot als u Raemken is, steeckt dan met twee pinnekens u Raem daer over heen vast, en soo doende kunt gy u van dese Tralye in allerhande voorval dienen.

terms translations

[suggested translation, Marije Osnabrugge:] {Escape for a Master to transfer his composition to the Panel by means of a grid.} It is however true that a good Master who wants to transfer his Composition, after he has first drawn it neatly and comprehensively, to his Canvas or Panel, might also make a grid, but this happens mostly because of the ease, than for any other reason, because he who has first been able to make his composition first in a Drawing, can be sure to also be able to do it on a Canvas, if he would want to spend time on it; however he who is able to do it freehand, and wants to, will not be called a lesser Master because of it. {Making a frame that can be used on all occasions.} To safe the bother of having to draw lines over his Composition or sketches , or to stretch threads over it again and again, one may take a square window of adequate size, and cover it with an even grill, by means of placing black threads close to the bottom, then place your Drawing on a Panel of the same size as your Window, then attach your window on top of it with two pins, and by doing this you can make use of this grid in all sorts of occasions.

In this section, Goeree provides detailed practical advice on how to transfer the design to the canvas or panel. This section is quite different in the English translation. [MO]

schets

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition

{Hoedanig d’Oude hare Teykeningen op groote Cartonnen plaghten te maecken.} Andere en oock de meeste part onder de Oude, pleeghden in plaets van hunne Ordinantien in ’t kleyn te Teyckenen, Teyckeninghen op Cartonnen, of Papieren aen een gheplackt, soo groot als hunne stucken wesen souden, gansch uytvoerigh te Teyckenen, ghelijck wy doorgaens in ’t leven der Schilders by Carel Vermander beschreven, konnen afnemen, van welcke Cartonnen oock eenige soo hier en daer, by stucken en brocken ghevonden worden: Doch moetmen weten dat dese manniere meest gebruyckt wiert tot dinghen die op natte Kalck, of in Fresco moeten Geschildert worden, in welck Schilderen sy haer door soodanige Teyckeninghen best konden verseeckeren.

terms translations

[suggested translation, Marije Osnabrugge:] {How the Old [ndr.: masters] tended to make their Drawings on large cartons.} Others and most of the Ancients, instead of drawing their composition in great detail in a small format, tended to draw Drawings on Cartons, or Paper sheets glued together, as big as their works would be, as we may learn from the Lives of Painters by Carel van Mander, we find some of these Cartons here and their, in bits and pieces: Yet one should know that this method is mostly used for those things that have to be painted on wet chalk, or in Fresco, for which type of painting one may best depend on such Drawings.

This section is not included in the English translation. [MO]

natte kalck

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la peinture
terms translations

[suggested translation, Marije Osnabrugge:] {How the Old [ndr.: masters] tended to make their Drawings on large cartons.} Others and most of the Ancients, instead of drawing their composition in great detail in a small format, tended to draw Drawings on Cartons, or Paper sheets glued together, as big as their works would be, as we may learn from the Lives of Painters by Carel van Mander, we find some of these Cartons here and their, in bits and pieces: Yet one should know that this method is mostly used for those things that have to be painted on wet chalk, or in Fresco, for which type of painting one may best depend on such Drawings.

This section is not included in the English translation. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] {How the Old [ndr.: masters] tended to make their Drawings on large cartons.} Others and most of the Ancients, instead of drawing their composition in great detail in a small format, tended to draw Drawings on Cartons, or Paper sheets glued together, as big as their works would be, as we may learn from the Lives of Painters by Carel van Mander, we find some of these Cartons here and their, in bits and pieces: Yet one should know that this method is mostly used for those things that have to be painted on wet chalk, or in Fresco, for which type of painting one may best depend on such Drawings.

This section is not included in the English translation. [MO]

fresco

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la peinture

Doch laet ons weder keeren tot het begin van stellinghe, en leeren de eerste Schets van een goede Teyckeningh aenvanghen, datmen na alles ’t geen geseyt is, alsdan met een luchtige handt yder op sijne eygene plaets doen moet, eerst de voornaemste deelen, daer na de mindere, en voorts al watter in is, soo sal het sich terstont openbaren of uwe gissinge en stellinge goet sal zijn; {Men moet sich in ’t stellen van elcken treck verseeckeren.} Doeter noch by, dat ghy u van elcken treck die ghy aenwijst, eerst met goede reden en opmerckinge verseeckert, wel acht ghevende op de groote en generale parthyen, latende de kleynigheden en breeckingen der groote deelen varen, tot nader stellinge en Correctie, waar vanw’in ’t vervolgh sullen spreecken;

terms translations

[suggested translation, Marije Osnabrugge:] Yet let us return to the beginning of the composition, and learn to begin the first sketch of a good Drawing, after all that has been said, as everyone should do for himself with a light hand, first the principal parts, then the lesser, and then all that is in it, as such it will soon become clear whether your guess and composition are good; {In composing one should be certain about every stroke.} Add to this, that you first ascertain with good reason and observation of every stroke that you point out, paying attention to the big and general parts, ignoring the small things and interruptions of the large parts, until later composition and correction, of which we will later speak;

This section is not included in the English translation. [MO]

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] Yet let us return to the beginning of the composition, and learn to begin the first sketch of a good Drawing, after all that has been said, as everyone should do for himself with a light hand, first the principal parts, then the lesser, and then all that is in it, as such it will soon become clear whether your guess and composition are good; {In composing one should be certain about every stroke.} Add to this, that you first ascertain with good reason and observation of every stroke that you point out, paying attention to the big and general parts, ignoring the small things and interruptions of the large parts, until later composition and correction, of which we will later speak;

This section is not included in the English translation. [MO]

Conceptual field(s)

EFFET PICTURAL → touche
MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] Yet let us return to the beginning of the composition, and learn to begin the first sketch of a good Drawing, after all that has been said, as everyone should do for himself with a light hand, first the principal parts, then the lesser, and then all that is in it, as such it will soon become clear whether your guess and composition are good; {In composing one should be certain about every stroke.} Add to this, that you first ascertain with good reason and observation of every stroke that you point out, paying attention to the big and general parts, ignoring the small things and interruptions of the large parts, until later composition and correction, of which we will later speak;

This section is not included in the English translation. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
PEINTURE, TABLEAU, IMAGE → définition du dessin
terms translations

[suggested translation, Marije Osnabrugge:] Yet let us return to the beginning of the composition, and learn to begin the first sketch of a good Drawing, after all that has been said, as everyone should do for himself with a light hand, first the principal parts, then the lesser, and then all that is in it, as such it will soon become clear whether your guess and composition are good; {In composing one should be certain about every stroke.} Add to this, that you first ascertain with good reason and observation of every stroke that you point out, paying attention to the big and general parts, ignoring the small things and interruptions of the large parts, until later composition and correction, of which we will later speak;

This section is not included in the English translation. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
terms translations

[suggested translation, Marije Osnabrugge:] Yet let us return to the beginning of the composition, and learn to begin the first sketch of a good Drawing, after all that has been said, as everyone should do for himself with a light hand, first the principal parts, then the lesser, and then all that is in it, as such it will soon become clear whether your guess and composition are good; {In composing one should be certain about every stroke.} Add to this, that you first ascertain with good reason and observation of every stroke that you point out, paying attention to the big and general parts, ignoring the small things and interruptions of the large parts, until later composition and correction, of which we will later speak;

This section is not included in the English translation. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin

Als ghy nu uwe Schets ten Ruwsten doch evenwel voorsichtigh aengewesen hebt, siet dan met ene gheset en aendachtigh Oordeel of uwe schickinge goet is, en of ghy de Actien, of Werckingen, en al ’t gedoen van het Beelt of Beelden diese in u Principael hebben, oock in uwe Teyckeningh kondt sien. Want de werckelijcke besigheydt moet sich in de alder-eerste en ruwste Schets al seer sterck vertoonen, eer ghy u van wat goets mooght verseeckeren; gemerckt de Actie de Ziel van de Schilderye of Principael is, en by gevolgh oock van uwe Teyckeningh moet wesen.

terms translations

[suggested translation, Marije Osnabrugge:] As soon as you have marked your Sketch in the roughest form yet carefully, observe with a regular and attentive Judgement whether your composition is right, whether you can also see the Actions or Movements and all the busyness of the Figure or Figures that you have in the Original, in your Drawing as well. Because the real action should show already very strongly in the very first and roughest Sketch, if you want to be sure of something good; as the Action is the Soul of the Painting or Original, and should therefore be of your Drawing.

werckingh · besigheydt

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude
terms translations

[suggested translation, Marije Osnabrugge:] As soon as you have marked your Sketch in the roughest form yet carefully, observe with a regular and attentive Judgement whether your composition is right, whether you can also see the Actions or Movements and all the busyness of the Figure or Figures that you have in the Original, in your Drawing as well. Because the real action should show already very strongly in the very first and roughest Sketch, if you want to be sure of something good; as the Action is the Soul of the Painting or Original, and should therefore be of your Drawing.

actie · werckingh

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude
terms translations

[suggested translation, Marije Osnabrugge:] As soon as you have marked your Sketch in the roughest form yet carefully, observe with a regular and attentive Judgement whether your composition is right, whether you can also see the Actions or Movements and all the busyness of the Figure or Figures that you have in the Original, in your Drawing as well. Because the real action should show already very strongly in the very first and roughest Sketch, if you want to be sure of something good; as the Action is the Soul of the Painting or Original, and should therefore be of your Drawing.

Conceptual field(s)

L’ARTISTE → qualités
SPECTATEUR → jugement
terms translations

[suggested translation, Marije Osnabrugge:] As soon as you have marked your Sketch in the roughest form yet carefully, observe with a regular and attentive Judgement whether your composition is right, whether you can also see the Actions or Movements and all the busyness of the Figure or Figures that you have in the Original, in your Drawing as well. Because the real action should show already very strongly in the very first and roughest Sketch, if you want to be sure of something good; as the Action is the Soul of the Painting or Original, and should therefore be of your Drawing.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
PEINTURE, TABLEAU, IMAGE → définition du dessin
terms translations

[suggested translation, Marije Osnabrugge:] As soon as you have marked your Sketch in the roughest form yet carefully, observe with a regular and attentive Judgement whether your composition is right, whether you can also see the Actions or Movements and all the busyness of the Figure or Figures that you have in the Original, in your Drawing as well. Because the real action should show already very strongly in the very first and roughest Sketch, if you want to be sure of something good; as the Action is the Soul of the Painting or Original, and should therefore be of your Drawing.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
terms translations

[suggested translation, Marije Osnabrugge:] As soon as you have marked your Sketch in the roughest form yet carefully, observe with a regular and attentive Judgement whether your composition is right, whether you can also see the Actions or Movements and all the busyness of the Figure or Figures that you have in the Original, in your Drawing as well. Because the real action should show already very strongly in the very first and roughest Sketch, if you want to be sure of something good; as the Action is the Soul of the Painting or Original, and should therefore be of your Drawing.

besigheydt · actie

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude

[…] {Hoemen sijn Teyckeningh tegen sijn Principael sal Confereeren.} en besiet uwe stellinge alsoo een wijle tijt met opmerckingh als in vergelijckingh tegen u Principael, en doet het met een groote lust en wensch, om sooder eenige fouten in zijn, die uyt te vinden, wandelende tot dien eynde met naeuw opmerckende gedachten, u gansche Teyckeningh door en door, telckens die, soo in ’t bysonder, als in ’t generael met u Principael Confereerende, ghy sult alsdan ontwijffelbaer bemercken, wat misstellingen ghy daer in hebt begaen, zijt dan niet verdrietigh noch traegh, maer verbetert die soo flucx alsse sich opdoen, en dat gy wel geoordeelt hebt vanden misslagh, en waer het aan hapert, en door wat daer die sal konnen verbeetert worden, op dat gy niet de onrechte partye aengrijpt, ofte dat gy door ’t verbeteren van dit of dat niet verraden en wort van meerder misslaghen, want dat is in ’t gemeen den aert vande fouten, diemen in een Teyckeningh, of Schilderye vint, dat wanneer men d’eene verbetert, terstont sich wederom een andere opdoet, invoegen d’eene fout de andere beklapt, daerom datmen met seven oogen, als het spreeck-woort set, moet omsien en wacht houden.

terms translations

[suggested translation, Marije Osnabrugge:] […] {How one should compare one’s Drawing against one’s Original.} and observe your composition for a while with observation in comparison to your Original, and do so with great desire and need, to find out the mistakes, if there are any, going over your whole Drawing with closely noticing thoughts over and over for this purpose, comparing it both in detail and in general with your Original, you will then doubtlessly discover which faults you have made in it, do not become sad or slow then, but correct them as soon as they occur, and that you have judged correctly of the fault and what the problem is and how it can be corrected, so that you do not take on the wrong part, or that you do not become aware of other mistakes by correcting, because this is generally the origin of the faults that one finds in a Drawing or Painting, that when you correct one, another will immediately occur, that is one mistake gives away another, therefore one should watch out with seven eyes, as the saying goes.

misslag · misstelling

Conceptual field(s)

terms translations

[suggested translation, Marije Osnabrugge:] […] {How one should compare one’s Drawing against one’s Original.} and observe your composition for a while with observation in comparison to your Original, and do so with great desire and need, to find out the mistakes, if there are any, going over your whole Drawing with closely noticing thoughts over and over for this purpose, comparing it both in detail and in general with your Original, you will then doubtlessly discover which faults you have made in it, do not become sad or slow then, but correct them as soon as they occur, and that you have judged correctly of the fault and what the problem is and how it can be corrected, so that you do not take on the wrong part, or that you do not become aware of other mistakes by correcting, because this is generally the origin of the faults that one finds in a Drawing or Painting, that when you correct one, another will immediately occur, that is one mistake gives away another, therefore one should watch out with seven eyes, as the saying goes.

fout · misstelling

Conceptual field(s)

terms translations

[suggested translation, Marije Osnabrugge:] […] {How one should compare one’s Drawing against one’s Original.} and observe your composition for a while with observation in comparison to your Original, and do so with great desire and need, to find out the mistakes, if there are any, going over your whole Drawing with closely noticing thoughts over and over for this purpose, comparing it both in detail and in general with your Original, you will then doubtlessly discover which faults you have made in it, do not become sad or slow then, but correct them as soon as they occur, and that you have judged correctly of the fault and what the problem is and how it can be corrected, so that you do not take on the wrong part, or that you do not become aware of other mistakes by correcting, because this is generally the origin of the faults that one finds in a Drawing or Painting, that when you correct one, another will immediately occur, that is one mistake gives away another, therefore one should watch out with seven eyes, as the saying goes.

misslag · fout

Conceptual field(s)

terms translations

[suggested translation, Marije Osnabrugge:] […] {How one should compare one’s Drawing against one’s Original.} and observe your composition for a while with observation in comparison to your Original, and do so with great desire and need, to find out the mistakes, if there are any, going over your whole Drawing with closely noticing thoughts over and over for this purpose, comparing it both in detail and in general with your Original, you will then doubtlessly discover which faults you have made in it, do not become sad or slow then, but correct them as soon as they occur, and that you have judged correctly of the fault and what the problem is and how it can be corrected, so that you do not take on the wrong part, or that you do not become aware of other mistakes by correcting, because this is generally the origin of the faults that one finds in a Drawing or Painting, that when you correct one, another will immediately occur, that is one mistake gives away another, therefore one should watch out with seven eyes, as the saying goes.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → statut de l'oeuvre : copie, original...
CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] […] {How one should compare one’s Drawing against one’s Original.} and observe your composition for a while with observation in comparison to your Original, and do so with great desire and need, to find out the mistakes, if there are any, going over your whole Drawing with closely noticing thoughts over and over for this purpose, comparing it both in detail and in general with your Original, you will then doubtlessly discover which faults you have made in it, do not become sad or slow then, but correct them as soon as they occur, and that you have judged correctly of the fault and what the problem is and how it can be corrected, so that you do not take on the wrong part, or that you do not become aware of other mistakes by correcting, because this is generally the origin of the faults that one finds in a Drawing or Painting, that when you correct one, another will immediately occur, that is one mistake gives away another, therefore one should watch out with seven eyes, as the saying goes.

Conceptual field(s)

[…] ghelijck ons Seneca in een sijner Brieven dat seer aerdigh voordraegt, als hy den aert van een rechtschapen Schilder alsdus beschrijft, Het valt den Constenaer genoeghlijcker (seyt hy) te Schilderen dan Geschildert te hebben, d’ernstige bekommernisse die hem ontrent het gansche beslagh sijnes Wercks besich hout vint een onderlinge lust inde besigheydt selve: De Vreught der gene die ’t van ’t voltrocken Werck ter zijden leggen, is nergens na soo groot; sy genieten nu de Vreught harer Konste, daerse te vooren de Konst selver genooten, soo lange namentlijck alse noch Schilderden. ’t Welck alles leert datmen liever moet doen, als gedaen hebben.

terms translations

[suggested translation, Marije Osnabrugge:] […] as Seneca nicely proposes to us in his Letters, when he describes the nature of an honorable Painter as follows: It is easier for an Artist (he says) to paint than to have painted, the serious concern that occupies him regarding the whole situation of his Work finds a common pleasure in the action itself: The Happiness of those who lay the completed Work aside, is not nearly as big; they now enjoy the Happiness of their art, while before they enjoyed the Art itself, namely as long as they are still painting. All this teaches us that one rather does, than having done.

The citation from Seneca is not included in the English translation, which means that the selected terms do not occur. [MO]

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] […] as Seneca nicely proposes to us in his Letters, when he describes the nature of an honorable Painter as follows: It is easier for an Artist (he says) to paint than to have painted, the serious concern that occupies him regarding the whole situation of his Work finds a common pleasure in the action itself: The Happiness of those who lay the completed Work aside, is not nearly as big; they now enjoy the Happiness of their art, while before they enjoyed the Art itself, namely as long as they are still painting. All this teaches us that one rather does, than having done.

The citation from Seneca is not included in the English translation, which means that the selected terms do not occur. [MO]

Conceptual field(s)

L’ARTISTE → qualités

{Men moet goet licht verkiesen om ’t ront te Teyckenen.} Daer moet dan in dese oeffeninge voor eerst wel aengemerckt worden, datmen een goede plaets verkiest, en insonderheyt wel acht geven om bequaem licht te hebben, want aen de hoedanigheyt des lichts veel gheleghen is, aenghesien men hier de playsantie, macht, en gratieuse verkiesinge, die door de toevallen van behoorlijcke vlacke schaduwen en daghen veroorsaeckt wort, selfs moet soecken. Des soo sal een ruym wijt luftigh en hoogh licht, dat niet al te vluchtigh, maer eenparigh en gestadigh swevende in u Kamer blijft woonen, komende door een vack of Venster-gat, vande Noorder-zijde, seer voordeeligh zijn, om de Lichamen tot de minste parthyen aengenaem te vertoonen

terms translations

[suggested translation, Marije Osnabrugge:] {One has to choose good lighting to draw the round [ndr.: the volume].} First one should remark for this exercise, that one choses a good place, and especially pay attention to having adequate light, because much depends on the quality of the light, as one may find here the pleasure, power and graceful choice, that is caused by the coincidence of right flat shadows and days. For this a very wide airy and high light, not too fugitive, but even and steadily floating that hangs in your Room, coming from an opening or window, on the North side, would be very advantageous, to show the Bodies up until the lesser parts in a pleasing way.

Conceptual field(s)

terms translations

[suggested translation, Marije Osnabrugge:] {One has to choose good lighting to draw the round [ndr.: the volume].} First one should remark for this exercise, that one choses a good place, and especially pay attention to having adequate light, because much depends on the quality of the light, as one may find here the pleasure, power and graceful choice, that is caused by the coincidence of right flat shadows and days. For this a very wide airy and high light, not too fugitive, but even and steadily floating that hangs in your Room, coming from an opening or window, on the North side, would be very advantageous, to show the Bodies up until the lesser parts in a pleasing way.

Conceptual field(s)

{Nacht-licht geeft harde schaduwen.} Doch dewijle dat het Teyckenen by ’t Nacht-licht, dit onderworpen is, dat het seer harde en afgesnedene schaduwen en stercke lichten voortbrenght, waer doorder seer veel in wreet-heyt, Koperachtige blinckende hooghsels, flicker-lichten en glasighe reflexien vervallen, soo plachten sommige om hen hier voor te hoeden, met tussen het licht en het model een Raem van fijn en dun geolijt Papier te setten, ten eynde haere schaduwen sachter mochten werden. (…) {Daglicht de natuerlijcke en beste dag.} Echter is in allen desen, het daglicht boven al te prijsen, en daerom oock geraetsaemst; alsoo men daer in een simpele eenparigheyt van dagh en schaduwe, en een natuerlijcke reflextie sien kan:

terms translations

[suggested translation, Marije Osnabrugge:] {Night-light causes hard shadows.} Yet while Drawing by Night-light has this issue, that it causes very hard and cut-off shades and strong lights, why many end up with cruelty, Coppery glittering highlights, flickering lights and glassy reflections, which is why some try to guard themselves against this by placing between the light and the model a pane of fine and thinly oiler Paper, to make the shades softer. (…) {Daylight is the natural and best light.} However, of all of these the daylight should be praised most of all and is therefore the most advisable; as one can see a simple evenness of day and shadow and a natural reflection in it:

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Night-light causes hard shadows.} Yet while Drawing by Night-light has this issue, that it causes very hard and cut-off shades and strong lights, why many end up with cruelty, Coppery glittering highlights, flickering lights and glassy reflections, which is why some try to guard themselves against this by placing between the light and the model a pane of fine and thinly oiler Paper, to make the shades softer. (…) {Daylight is the natural and best light.} However, of all of these the daylight should be praised most of all and is therefore the most advisable; as one can see a simple evenness of day and shadow and a natural reflection in it:

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Night-light causes hard shadows.} Yet while Drawing by Night-light has this issue, that it causes very hard and cut-off shades and strong lights, why many end up with cruelty, Coppery glittering highlights, flickering lights and glassy reflections, which is why some try to guard themselves against this by placing between the light and the model a pane of fine and thinly oiler Paper, to make the shades softer. (…) {Daylight is the natural and best light.} However, of all of these the daylight should be praised most of all and is therefore the most advisable; as one can see a simple evenness of day and shadow and a natural reflection in it:

nacht-licht

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Night-light causes hard shadows.} Yet while Drawing by Night-light has this issue, that it causes very hard and cut-off shades and strong lights, why many end up with cruelty, Coppery glittering highlights, flickering lights and glassy reflections, which is why some try to guard themselves against this by placing between the light and the model a pane of fine and thinly oiler Paper, to make the shades softer. (…) {Daylight is the natural and best light.} However, of all of these the daylight should be praised most of all and is therefore the most advisable; as one can see a simple evenness of day and shadow and a natural reflection in it:

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Night-light causes hard shadows.} Yet while Drawing by Night-light has this issue, that it causes very hard and cut-off shades and strong lights, why many end up with cruelty, Coppery glittering highlights, flickering lights and glassy reflections, which is why some try to guard themselves against this by placing between the light and the model a pane of fine and thinly oiler Paper, to make the shades softer. (…) {Daylight is the natural and best light.} However, of all of these the daylight should be praised most of all and is therefore the most advisable; as one can see a simple evenness of day and shadow and a natural reflection in it:

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Night-light causes hard shadows.} Yet while Drawing by Night-light has this issue, that it causes very hard and cut-off shades and strong lights, why many end up with cruelty, Coppery glittering highlights, flickering lights and glassy reflections, which is why some try to guard themselves against this by placing between the light and the model a pane of fine and thinly oiler Paper, to make the shades softer. (…) {Daylight is the natural and best light.} However, of all of these the daylight should be praised most of all and is therefore the most advisable; as one can see a simple evenness of day and shadow and a natural reflection in it:

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Night-light causes hard shadows.} Yet while Drawing by Night-light has this issue, that it causes very hard and cut-off shades and strong lights, why many end up with cruelty, Coppery glittering highlights, flickering lights and glassy reflections, which is why some try to guard themselves against this by placing between the light and the model a pane of fine and thinly oiler Paper, to make the shades softer. (…) {Daylight is the natural and best light.} However, of all of these the daylight should be praised most of all and is therefore the most advisable; as one can see a simple evenness of day and shadow and a natural reflection in it:

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Night-light causes hard shadows.} Yet while Drawing by Night-light has this issue, that it causes very hard and cut-off shades and strong lights, why many end up with cruelty, Coppery glittering highlights, flickering lights and glassy reflections, which is why some try to guard themselves against this by placing between the light and the model a pane of fine and thinly oiler Paper, to make the shades softer. (…) {Daylight is the natural and best light.} However, of all of these the daylight should be praised most of all and is therefore the most advisable; as one can see a simple evenness of day and shadow and a natural reflection in it:

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Night-light causes hard shadows.} Yet while Drawing by Night-light has this issue, that it causes very hard and cut-off shades and strong lights, why many end up with cruelty, Coppery glittering highlights, flickering lights and glassy reflections, which is why some try to guard themselves against this by placing between the light and the model a pane of fine and thinly oiler Paper, to make the shades softer. (…) {Daylight is the natural and best light.} However, of all of these the daylight should be praised most of all and is therefore the most advisable; as one can see a simple evenness of day and shadow and a natural reflection in it:

daglicht

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Night-light causes hard shadows.} Yet while Drawing by Night-light has this issue, that it causes very hard and cut-off shades and strong lights, why many end up with cruelty, Coppery glittering highlights, flickering lights and glassy reflections, which is why some try to guard themselves against this by placing between the light and the model a pane of fine and thinly oiler Paper, to make the shades softer. (…) {Daylight is the natural and best light.} However, of all of these the daylight should be praised most of all and is therefore the most advisable; as one can see a simple evenness of day and shadow and a natural reflection in it:

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Night-light causes hard shadows.} Yet while Drawing by Night-light has this issue, that it causes very hard and cut-off shades and strong lights, why many end up with cruelty, Coppery glittering highlights, flickering lights and glassy reflections, which is why some try to guard themselves against this by placing between the light and the model a pane of fine and thinly oiler Paper, to make the shades softer. (…) {Daylight is the natural and best light.} However, of all of these the daylight should be praised most of all and is therefore the most advisable; as one can see a simple evenness of day and shadow and a natural reflection in it:

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Night-light causes hard shadows.} Yet while Drawing by Night-light has this issue, that it causes very hard and cut-off shades and strong lights, why many end up with cruelty, Coppery glittering highlights, flickering lights and glassy reflections, which is why some try to guard themselves against this by placing between the light and the model a pane of fine and thinly oiler Paper, to make the shades softer. (…) {Daylight is the natural and best light.} However, of all of these the daylight should be praised most of all and is therefore the most advisable; as one can see a simple evenness of day and shadow and a natural reflection in it:

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière

Ja men mach vry ghelooven, dat de Teycken en Schilder-Konst ons dwinght, alle Musculen die tot de bewegingh der leden dienen, te verstaen: Want den Teyckenaer die grondige kennis van de form en natuere der Musculen, en Tendonen of te Coorden heeft, sal terstont den Cours en bewegingh van een lidt konnen weten, en het sal hem in ’t beschouwen van ’t naeckt aenwijsingh geven (schoonse zich somtijts seer twijfelachtigh opdoen) hoedanigh datse in elkander sluyten, en welcke Musculen door het te rugh trecken van een Tendoon komt op te swellen, en wat nadere daer-en-tegen loslaten en in-krimpen. Daer-en-tegen die de selve slechts in ’t wilde en sonder fondament verstaen, en weten niet als in allerhande slagh van Actien, een en deselfde Muscul op eenerley wijse en plaets te vertoonen.

terms translations

[suggested translation, Marije Osnabrugge:] Yes one may freely believe, that the Art of Drawing and Painting forces us to understand all the muscles that are used for the movement of the limbs: Because the Draughtsman who has a profound knowledge of the shape and nature of the Muscles, Tendons and Chords, will simultaneously be able to understand the course and movement of a limb, and it will provide him indication in the observation of a nude (although they sometimes appear very doubtful) how they are attached to each other and which Muscle swell because a Tendon pulls back, and on the other hand which others detract and shrink . On the other hand, those who only understand this loosely and without foundation and only know to depict one and the same Muscle in one way and place in different types of Action.

bewegingh · cours

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude
terms translations

[suggested translation, Marije Osnabrugge:] Yes one may freely believe, that the Art of Drawing and Painting forces us to understand all the muscles that are used for the movement of the limbs: Because the Draughtsman who has a profound knowledge of the shape and nature of the Muscles, Tendons and Chords, will simultaneously be able to understand the course and movement of a limb, and it will provide him indication in the observation of a nude (although they sometimes appear very doubtful) how they are attached to each other and which Muscle swell because a Tendon pulls back, and on the other hand which others detract and shrink . On the other hand, those who only understand this loosely and without foundation and only know to depict one and the same Muscle in one way and place in different types of Action.

actie · cours

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude
terms translations

[suggested translation, Marije Osnabrugge:] Yes one may freely believe, that the Art of Drawing and Painting forces us to understand all the muscles that are used for the movement of the limbs: Because the Draughtsman who has a profound knowledge of the shape and nature of the Muscles, Tendons and Chords, will simultaneously be able to understand the course and movement of a limb, and it will provide him indication in the observation of a nude (although they sometimes appear very doubtful) how they are attached to each other and which Muscle swell because a Tendon pulls back, and on the other hand which others detract and shrink . On the other hand, those who only understand this loosely and without foundation and only know to depict one and the same Muscle in one way and place in different types of Action.

Conceptual field(s)

terms translations

[suggested translation, Marije Osnabrugge:] Yes one may freely believe, that the Art of Drawing and Painting forces us to understand all the muscles that are used for the movement of the limbs: Because the Draughtsman who has a profound knowledge of the shape and nature of the Muscles, Tendons and Chords, will simultaneously be able to understand the course and movement of a limb, and it will provide him indication in the observation of a nude (although they sometimes appear very doubtful) how they are attached to each other and which Muscle swell because a Tendon pulls back, and on the other hand which others detract and shrink . On the other hand, those who only understand this loosely and without foundation and only know to depict one and the same Muscle in one way and place in different types of Action.

actie · bewegingh

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude

Nu komen wy tot de dingen die in het Teyckenen na ’t leven te observeren zijn. {’t Leven is overvloedigh.} ’t Is kennelijck dat het Leven, en de Natuere overvloedigh en in allen volmaeckt is, en dienvolgende soo is haer geringhste Heerlijcker om na te volgen dan des besten Meesters Hant-werck; gelijck den Ouden vermaerden Schilder Eupompus, dat eens voor een Lesse gaf aen sijne Descipulen, die nu machtigh waren, om alleen sonder hulp van Bies-bossen te swemmen; dat ons nu hier een spoor moet geven, om soo ras alsmen de maniere van andere haer Konstigen Arbeydt na te Bootsen hebben bekomen, neffens dat, tot het natuerlijck leven selfs te gaen; als zijnde het noodighste van allen. {Opweckingh en nuttigheyt van het leven te volgen.} Hier to isset dat de Leergierige Discipulen malkander gaende moeten maecken, tijdt en gelegentheydt van een bequame plaetse uytkiesen, ende met eenige Borsten een Collegie maken, om een dach ofte twee, ten minsten een ter Weecke na het levendt naeckt te Teyckenen. Want dit een nuttigh en loffelijck ghebruyck heeft, en seer voordeeligh is tot bevorderinge der study; {Collegie verkiesen en tot wat eynde.} het sy dan dat sy dat doen onder het opsicht en onderwijs van een goet Meester, ofte in Collegie onder haer acht of thienen, niet uyt in-sicht van malkanderen door dese by een komste te verleyden, ofte om te rallieren, en den kostelijcken tijdt door te brengen met elkanders Teyckeninghen te beschimpen, maer om d’een den anderen stil en heusselijck op te wecken, en met een neerstigh Exempel voor te gaen; malkanders fouten na de kennis diemen heeft, onder verbeteringh van eens anders Oordeel, beleefdelijck aen te wijsen.

terms translations

[suggested translation, Marije Osnabrugge:] Now we arrive at those things that need to be observed in Drawing after the life. {The Life is abundant.} It is clear that the Life and Nature are abundant and perfect in everything, and therefore the lesser parts of it are more delightful to imitate than the craft work of the best Masters; like the Ancient renowned Painter Eupompus provided this once as Lesson for his disciples, as soon as they were capable to swim without the help of aid [ndr.: literally floaties that help poor swimmers to stay afloat]; which should give us an indication to, as soon as we have obtained the way to imitate the Artful Work of others, to proceed to the natural life itself as well; as it is the most necessary of all. {Stimulus and necessity to follow the life.} Here the curious disciples should encourage each other, choosing the time and occasion of an adequate location, and start a College with some fellows to draw after the living nude, once every other day, at least once a Week. Because this is a useful and praiseworthy custom, and very beneficial for the progress of study; {Choosing a College and for what reason.} they either do this under the supervision of a good Master, or in a College with eight or ten of them, not with the purpose to seduce each other with this gathering, or to cause disturbance and spend the precious time taunting each other, but to quietly and truly stimulate the others and to show a diligent example; to politely point out each other’s faults, with the knowledge that one has, by improving through each other’s judgement.

Goeree was the first to describe such a college or informal drawing academy in the Netherlands, only Van Der Passe (1643) referred to such a practice (KWAKKELSTEIN, 1998, p. 59). For Goeree, and later also for De Lairesse (Grondlegginge 1701, p. 38), the College’s sole purpose is to learn to draw after a nude model. [MO]

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] Now we arrive at those things that need to be observed in Drawing after the life. {The Life is abundant.} It is clear that the Life and Nature are abundant and perfect in everything, and therefore the lesser parts of it are more delightful to imitate than the craft work of the best Masters; like the Ancient renowned Painter Eupompus provided this once as Lesson for his disciples, as soon as they were capable to swim without the help of aid [ndr.: literally floaties that help poor swimmers to stay afloat]; which should give us an indication to, as soon as we have obtained the way to imitate the Artful Work of others, to proceed to the natural life itself as well; as it is the most necessary of all. {Stimulus and necessity to follow the life.} Here the curious disciples should encourage each other, choosing the time and occasion of an adequate location, and start a College with some fellows to draw after the living nude, once every other day, at least once a Week. Because this is a useful and praiseworthy custom, and very beneficial for the progress of study; {Choosing a College and for what reason.} they either do this under the supervision of a good Master, or in a College with eight or ten of them, not with the purpose to seduce each other with this gathering, or to cause disturbance and spend the precious time taunting each other, but to quietly and truly stimulate the others and to show a diligent example; to politely point out each other’s faults, with the knowledge that one has, by improving through each other’s judgement.

In the German translation of 1677, this term (in Dutch, it is connected to 'levendt': living) is translated by 'nach dem Leben', thus neglecting the fact that Goeree is discussing the nude model. [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] Now we arrive at those things that need to be observed in Drawing after the life. {The Life is abundant.} It is clear that the Life and Nature are abundant and perfect in everything, and therefore the lesser parts of it are more delightful to imitate than the craft work of the best Masters; like the Ancient renowned Painter Eupompus provided this once as Lesson for his disciples, as soon as they were capable to swim without the help of aid [ndr.: literally floaties that help poor swimmers to stay afloat]; which should give us an indication to, as soon as we have obtained the way to imitate the Artful Work of others, to proceed to the natural life itself as well; as it is the most necessary of all. {Stimulus and necessity to follow the life.} Here the curious disciples should encourage each other, choosing the time and occasion of an adequate location, and start a College with some fellows to draw after the living nude, once every other day, at least once a Week. Because this is a useful and praiseworthy custom, and very beneficial for the progress of study; {Choosing a College and for what reason.} they either do this under the supervision of a good Master, or in a College with eight or ten of them, not with the purpose to seduce each other with this gathering, or to cause disturbance and spend the precious time taunting each other, but to quietly and truly stimulate the others and to show a diligent example; to politely point out each other’s faults, with the knowledge that one has, by improving through each other’s judgement.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] Now we arrive at those things that need to be observed in Drawing after the life. {The Life is abundant.} It is clear that the Life and Nature are abundant and perfect in everything, and therefore the lesser parts of it are more delightful to imitate than the craft work of the best Masters; like the Ancient renowned Painter Eupompus provided this once as Lesson for his disciples, as soon as they were capable to swim without the help of aid [ndr.: literally floaties that help poor swimmers to stay afloat]; which should give us an indication to, as soon as we have obtained the way to imitate the Artful Work of others, to proceed to the natural life itself as well; as it is the most necessary of all. {Stimulus and necessity to follow the life.} Here the curious disciples should encourage each other, choosing the time and occasion of an adequate location, and start a College with some fellows to draw after the living nude, once every other day, at least once a Week. Because this is a useful and praiseworthy custom, and very beneficial for the progress of study; {Choosing a College and for what reason.} they either do this under the supervision of a good Master, or in a College with eight or ten of them, not with the purpose to seduce each other with this gathering, or to cause disturbance and spend the precious time taunting each other, but to quietly and truly stimulate the others and to show a diligent example; to politely point out each other’s faults, with the knowledge that one has, by improving through each other’s judgement.

navolgen

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] Now we arrive at those things that need to be observed in Drawing after the life. {The Life is abundant.} It is clear that the Life and Nature are abundant and perfect in everything, and therefore the lesser parts of it are more delightful to imitate than the craft work of the best Masters; like the Ancient renowned Painter Eupompus provided this once as Lesson for his disciples, as soon as they were capable to swim without the help of aid [ndr.: literally floaties that help poor swimmers to stay afloat]; which should give us an indication to, as soon as we have obtained the way to imitate the Artful Work of others, to proceed to the natural life itself as well; as it is the most necessary of all. {Stimulus and necessity to follow the life.} Here the curious disciples should encourage each other, choosing the time and occasion of an adequate location, and start a College with some fellows to draw after the living nude, once every other day, at least once a Week. Because this is a useful and praiseworthy custom, and very beneficial for the progress of study; {Choosing a College and for what reason.} they either do this under the supervision of a good Master, or in a College with eight or ten of them, not with the purpose to seduce each other with this gathering, or to cause disturbance and spend the precious time taunting each other, but to quietly and truly stimulate the others and to show a diligent example; to politely point out each other’s faults, with the knowledge that one has, by improving through each other’s judgement.

nabootsen

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] Now we arrive at those things that need to be observed in Drawing after the life. {The Life is abundant.} It is clear that the Life and Nature are abundant and perfect in everything, and therefore the lesser parts of it are more delightful to imitate than the craft work of the best Masters; like the Ancient renowned Painter Eupompus provided this once as Lesson for his disciples, as soon as they were capable to swim without the help of aid [ndr.: literally floaties that help poor swimmers to stay afloat]; which should give us an indication to, as soon as we have obtained the way to imitate the Artful Work of others, to proceed to the natural life itself as well; as it is the most necessary of all. {Stimulus and necessity to follow the life.} Here the curious disciples should encourage each other, choosing the time and occasion of an adequate location, and start a College with some fellows to draw after the living nude, once every other day, at least once a Week. Because this is a useful and praiseworthy custom, and very beneficial for the progress of study; {Choosing a College and for what reason.} they either do this under the supervision of a good Master, or in a College with eight or ten of them, not with the purpose to seduce each other with this gathering, or to cause disturbance and spend the precious time taunting each other, but to quietly and truly stimulate the others and to show a diligent example; to politely point out each other’s faults, with the knowledge that one has, by improving through each other’s judgement.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin

{Hoemen het Model wel stellen sal.} Men sal oock een goede manniere soecken, om ’t Model wel te stellen, en goede Actien te verkiesen, dat doet (om alle Wan-order te verhouden) by om-gaende beurten: En laet die, die het sijne beurt valt, te vooren een Actie by gedachte op Papier Geschetst hebben, om in ’t stellen dentijdt niet ydel te laten passeeren; het zy dan dat het eene Actie is die bedachte, ofte na de Inventy van een goet Meester komt, gelijck dat by Memory uyt aensien van Print-Konst, of Teyckeningen kan geschieden; {Hoemen oock wel eenige Actie na andere komt te volgen.} gelijckmen veel fraye, zedige, en wonderlijcke aendachtige Actien, ende Beelden siet, onder de dingen van Raphel, Primaticcio, Carats, Iulio Romano, Polydoor, Testa, en menighte andere verstandighe, soo Oude als hedendaeghse Meesters; daer in dat yder sijnen vryen wil, en lustighen Geest in navolgen mach. {Natuerlijcke gevallige Actien, dickwils best.} Oock salmen acht geven op de Natuerlijcke Actien, die by wijlen uyt eygene beweging van u Model komen te vallen, welcke somtijdts veel grootser, werckelijcker en aendachtiger komen te zijn dan die met voordacht gestelt ofte bedacht konnen worden;

terms translations

[suggested translation, Marije Osnabrugge:] {How one will position the Model.} One should also find a good manner, to position the Model the right way, and choose the right Actions, doing so (to avoid all sorts of Chaos) in turn: And let him whose turn it is, beforehand sketch an Action on Paper from his mind, to not lose too much time with positioning; it may either be an Action that is thought up, or after the invention of a good Master, as it may arise from Memory or from seeing the Art of Print or Drawings; {How one may also follow some Actions after others [ndr.: other artists].} as one sees many beautiful, virtuous and amazingly nice Actions and Figures under the things by Raphael, Primaticcio, Carracci, Giulio Romano, Polidoro, Testa and many other sensible Masters, both Old and contemporary; in which everyone can follow his free will and spirited Mind. {Naturally pleasing Actions are often best.} One should also pay attention to the Natural Actions, that sometimes occur from the own movement of your Model, which are sometimes much more magnificent, true and careful than those that are formed with premeditation or can be conceived;

This section is quite different in the English translation and the Italian masters are not mentioned. [MO]

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude
terms translations

[suggested translation, Marije Osnabrugge:] {How one will position the Model.} One should also find a good manner, to position the Model the right way, and choose the right Actions, doing so (to avoid all sorts of Chaos) in turn: And let him whose turn it is, beforehand sketch an Action on Paper from his mind, to not lose too much time with positioning; it may either be an Action that is thought up, or after the invention of a good Master, as it may arise from Memory or from seeing the Art of Print or Drawings; {How one may also follow some Actions after others [ndr.: other artists].} as one sees many beautiful, virtuous and amazingly nice Actions and Figures under the things by Raphael, Primaticcio, Carracci, Giulio Romano, Polidoro, Testa and many other sensible Masters, both Old and contemporary; in which everyone can follow his free will and spirited Mind. {Naturally pleasing Actions are often best.} One should also pay attention to the Natural Actions, that sometimes occur from the own movement of your Model, which are sometimes much more magnificent, true and careful than those that are formed with premeditation or can be conceived;

This section is quite different in the English translation and the Italian masters are not mentioned. [MO]

Conceptual field(s)

terms translations

[suggested translation, Marije Osnabrugge:] {How one will position the Model.} One should also find a good manner, to position the Model the right way, and choose the right Actions, doing so (to avoid all sorts of Chaos) in turn: And let him whose turn it is, beforehand sketch an Action on Paper from his mind, to not lose too much time with positioning; it may either be an Action that is thought up, or after the invention of a good Master, as it may arise from Memory or from seeing the Art of Print or Drawings; {How one may also follow some Actions after others [ndr.: other artists].} as one sees many beautiful, virtuous and amazingly nice Actions and Figures under the things by Raphael, Primaticcio, Carracci, Giulio Romano, Polidoro, Testa and many other sensible Masters, both Old and contemporary; in which everyone can follow his free will and spirited Mind. {Naturally pleasing Actions are often best.} One should also pay attention to the Natural Actions, that sometimes occur from the own movement of your Model, which are sometimes much more magnificent, true and careful than those that are formed with premeditation or can be conceived;

This section is quite different in the English translation and the Italian masters are not mentioned. [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
L’HISTOIRE ET LA FIGURE → action et attitude

{De Wight en tegenwight in de Actien der Beelden, wel te verstaen vereyst goede opmercking.} In ’t voor, achter ofte van ter zijden overbuygen, moetmen het Beeldt door tegenswaerte van eenige andere Leden in sijn Center en Balance houden; aen welcke kennis veel gelegen is, en sonder neerstigheyt niet wel en kan verkreghen worden, daerom wy oock desen regel aenraden, met neerstigheyt en opmerckingh te ondersoecken, dewijle sy een bysondere nuttigheyt in sich heeft, om te leeren voorkomen dat uwe Beelden niet onnatuerlijck en wercken, noch al staende of sittende overhoop en tuymelen.

terms translations

[suggested translation, Marije Osnabrugge:] {To understand the weight and counterweight in the Action of Figures, requires a good observation.} In bending forwards, backwards or sideways, one should keep the Figure in its Center and Balance by means of the counterweight of some other limbs; the knowledge of which is important and cannot be obtained without diligence, which is why we advise this rule, [ndr.: that is] to investigate with diligence and observation, while it is especially useful to learn to avoid that your Figures neither move unnaturally nor fall over when they are standing or sitting.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude
terms translations

[suggested translation, Marije Osnabrugge:] {To understand the weight and counterweight in the Action of Figures, requires a good observation.} In bending forwards, backwards or sideways, one should keep the Figure in its Center and Balance by means of the counterweight of some other limbs; the knowledge of which is important and cannot be obtained without diligence, which is why we advise this rule, [ndr.: that is] to investigate with diligence and observation, while it is especially useful to learn to avoid that your Figures neither move unnaturally nor fall over when they are standing or sitting.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude
CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] {To understand the weight and counterweight in the Action of Figures, requires a good observation.} In bending forwards, backwards or sideways, one should keep the Figure in its Center and Balance by means of the counterweight of some other limbs; the knowledge of which is important and cannot be obtained without diligence, which is why we advise this rule, [ndr.: that is] to investigate with diligence and observation, while it is especially useful to learn to avoid that your Figures neither move unnaturally nor fall over when they are standing or sitting.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude

{Watmen in ’t gemeen moet observeeren.} In het Schetsen en stellen van sijn Beelt salmen dan voor eerst goed acht gheven, hoe yder parthye sich met het geheel vereenight. Ten tweeden op de proporty: Ten derden op de Actie of doeninge des Beelts, en voorts gelijck wy hier vooren hebben geleert.

terms translations

[suggested translation, Marije Osnabrugge:] {What one should generally observe.} In sketching and positioning one’s Figure one should foremost pay good attention how every part unites with the whole. Secondly to the proportion: Thirdly to the Action or movement of the Figure, and then how we have learned before.

doening

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude
terms translations

[suggested translation, Marije Osnabrugge:] {What one should generally observe.} In sketching and positioning one’s Figure one should foremost pay good attention how every part unites with the whole. Secondly to the proportion: Thirdly to the Action or movement of the Figure, and then how we have learned before.

actie

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude
terms translations

[suggested translation, Marije Osnabrugge:] {What one should generally observe.} In sketching and positioning one’s Figure one should foremost pay good attention how every part unites with the whole. Secondly to the proportion: Thirdly to the Action or movement of the Figure, and then how we have learned before.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → proportion
terms translations

[suggested translation, Marije Osnabrugge:] {What one should generally observe.} In sketching and positioning one’s Figure one should foremost pay good attention how every part unites with the whole. Secondly to the proportion: Thirdly to the Action or movement of the Figure, and then how we have learned before.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] {What one should generally observe.} In sketching and positioning one’s Figure one should foremost pay good attention how every part unites with the whole. Secondly to the proportion: Thirdly to the Action or movement of the Figure, and then how we have learned before.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
CONCEPTION DE LA PEINTURE → composition

{Lantschap Teykenen ten hoogsten nut en vermakelijck.} Maer eer wy van het leven afscheyden, soo en konnen wy niet wel nalaten, oock kortelijck aen te wijsen, de nuttigheyt van het Teyckenen van Landschappen, Verschieten, Bergen, Duynen, Bosschadien, Struycken, Kruyden, Ruynen, en allerhande Dieren des Velts, als Paerden, Ossen, Koyen, Schapen, Bocken, en watmen dies meer te Landewaert ontmoet; als zijnde voor de Teyckenaers (boven de verlichtinge die het inde verposingh vande ghewoonlijcke Beeldt-Oeffeningh geeft) een vermaeckelijcke Study, en nuttighe uytspanning; daer-en-boven een middel om sich Universeel inde Konst te maken: {Datmen alle Study vande Schilder-Konst moet beminnen.} Want hy en kan voor geen groot Meester ofte kloecke Geest in achtingh wesen, (seght L. Davincy) die slegts in een dinck volmaeckt is; daer zijn weynige sulcke plompe herssens of sy sullen mettet tijdt tot het wel-doen van een saeck konnen geraecken: Invoegen dat een Jongelingh die niet ghelijckelijck alle deelen vande Konst en bemindt, hy sy soo kloeck als hy wil, hy sal nimmer tot een groot universeel Meester werden. Men siet in ’t gemeen van Teyckenaers ofte Schilders die geene genegentheyt en hebben tot het gene de Landschappen betreft, en sy daer toe versocht worden, ofte aenleydingh krijgen die te maecken, of om na ’t leven te gaen Teyckenen, datse haer dickwils laten voorstaen dat die Study te slecht is om haren tijt daer aen te verquisten; en door dese en andere nalatigheyt geschiet het dat soo weynigh haer selven algemeen inde Konst konnen maecken. Maer om dese misslagh te verbeteren, soo isset raetsaem datmen sich des Jaers twee, of drymael te Landewaert begeeft, om na de verscheyden Zaysoenen, de Landschappen, en wat daer ontrent tot voordeel vande Universeele Study kan ghehaelt worden, na ’t leven af te Teyckenen:

terms translations

[suggested translation, Marije Osnabrugge:] {Drawing the landscape is very useful and delightful.} But before we part from the life, we cannot omit to also briefly point out the use of Drawing Landscapes, Perspectives, Mountains, Dunes, Shadows in the Forrest, Bushes, Plants, Ruins and all sorts of Animals of the Field, like Horses, Oxen, Cows, Sheep, Goats and what else one runs into in the countryside; this is a pleasant Study and useful relaxation for the Draughtsmen (besides the relief that it provides as the leisure of the usual Figure-Practice); moreover it is a way to make oneself Universal in the Art: {That one should love all Study of the Art of Painting.} ‘Because he cannot be considered a great Master or bright Mind, (says Leonardo da Vinci) who is only perfect at one thing; there are few such firm brains that with time will arrive at doing one thing well: Adding that a Young Man who does not love all parts of the Art equally, he may be as bright as he wishes, but he will never become a great universal Master.’ In general one observes that Draughtsmen and Painters who have inclination for that which concerns the Landscapes, and when they are asked to go draw after the life, or find a reason to make them [ndr.: i.e. landscapes], or to draw after the life, they often boast that this Study is too bad to waste their time on; and because of this neglect, amongst other things, it happens that so few are able to make themselves general in the Art. But to improve on this flaw, it is advisable that one goes twice or three times a year to the countryside, to draw after the life according to the different seasons, the landscapes and all that may be gathered from it to advance the Universal Study:

The citation from Leonardo da Vinci is not included in the English translation and the reflection on how to become a universal master is only partially included. [MO

universeel

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] {Drawing the landscape is very useful and delightful.} But before we part from the life, we cannot omit to also briefly point out the use of Drawing Landscapes, Perspectives, Mountains, Dunes, Shadows in the Forrest, Bushes, Plants, Ruins and all sorts of Animals of the Field, like Horses, Oxen, Cows, Sheep, Goats and what else one runs into in the countryside; this is a pleasant Study and useful relaxation for the Draughtsmen (besides the relief that it provides as the leisure of the usual Figure-Practice); moreover it is a way to make oneself Universal in the Art: {That one should love all Study of the Art of Painting.} ‘Because he cannot be considered a great Master or bright Mind, (says Leonardo da Vinci) who is only perfect at one thing; there are few such firm brains that with time will arrive at doing one thing well: Adding that a Young Man who does not love all parts of the Art equally, he may be as bright as he wishes, but he will never become a great universal Master.’ In general one observes that Draughtsmen and Painters who have inclination for that which concerns the Landscapes, and when they are asked to go draw after the life, or find a reason to make them [ndr.: i.e. landscapes], or to draw after the life, they often boast that this Study is too bad to waste their time on; and because of this neglect, amongst other things, it happens that so few are able to make themselves general in the Art. But to improve on this flaw, it is advisable that one goes twice or three times a year to the countryside, to draw after the life according to the different seasons, the landscapes and all that may be gathered from it to advance the Universal Study:

The citation from Leonardo da Vinci is not included in the English translation and the reflection on how to become a universal master is only partially included. [MO]

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] {Drawing the landscape is very useful and delightful.} But before we part from the life, we cannot omit to also briefly point out the use of Drawing Landscapes, Perspectives, Mountains, Dunes, Shadows in the Forrest, Bushes, Plants, Ruins and all sorts of Animals of the Field, like Horses, Oxen, Cows, Sheep, Goats and what else one runs into in the countryside; this is a pleasant Study and useful relaxation for the Draughtsmen (besides the relief that it provides as the leisure of the usual Figure-Practice); moreover it is a way to make oneself Universal in the Art: {That one should love all Study of the Art of Painting.} ‘Because he cannot be considered a great Master or bright Mind, (says Leonardo da Vinci) who is only perfect at one thing; there are few such firm brains that with time will arrive at doing one thing well: Adding that a Young Man who does not love all parts of the Art equally, he may be as bright as he wishes, but he will never become a great universal Master.’ In general one observes that Draughtsmen and Painters who have inclination for that which concerns the Landscapes, and when they are asked to go draw after the life, or find a reason to make them [ndr.: i.e. landscapes], or to draw after the life, they often boast that this Study is too bad to waste their time on; and because of this neglect, amongst other things, it happens that so few are able to make themselves general in the Art. But to improve on this flaw, it is advisable that one goes twice or three times a year to the countryside, to draw after the life according to the different seasons, the landscapes and all that may be gathered from it to advance the Universal Study:

The citation from Leonardo da Vinci is not included in the English translation and the reflection on how to become a universal master is only partially included. [MO]

Conceptual field(s)

GENRES PICTURAUX → paysage
terms translations

[suggested translation, Marije Osnabrugge:] {Drawing the landscape is very useful and delightful.} But before we part from the life, we cannot omit to also briefly point out the use of Drawing Landscapes, Perspectives, Mountains, Dunes, Shadows in the Forrest, Bushes, Plants, Ruins and all sorts of Animals of the Field, like Horses, Oxen, Cows, Sheep, Goats and what else one runs into in the countryside; this is a pleasant Study and useful relaxation for the Draughtsmen (besides the relief that it provides as the leisure of the usual Figure-Practice); moreover it is a way to make oneself Universal in the Art: {That one should love all Study of the Art of Painting.} ‘Because he cannot be considered a great Master or bright Mind, (says Leonardo da Vinci) who is only perfect at one thing; there are few such firm brains that with time will arrive at doing one thing well: Adding that a Young Man who does not love all parts of the Art equally, he may be as bright as he wishes, but he will never become a great universal Master.’ In general one observes that Draughtsmen and Painters who have inclination for that which concerns the Landscapes, and when they are asked to go draw after the life, or find a reason to make them [ndr.: i.e. landscapes], or to draw after the life, they often boast that this Study is too bad to waste their time on; and because of this neglect, amongst other things, it happens that so few are able to make themselves general in the Art. But to improve on this flaw, it is advisable that one goes twice or three times a year to the countryside, to draw after the life according to the different seasons, the landscapes and all that may be gathered from it to advance the Universal Study:

The citation from Leonardo da Vinci is not included in the English translation and the reflection on how to become a universal master is only partially included. [MO]

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] {Drawing the landscape is very useful and delightful.} But before we part from the life, we cannot omit to also briefly point out the use of Drawing Landscapes, Perspectives, Mountains, Dunes, Shadows in the Forrest, Bushes, Plants, Ruins and all sorts of Animals of the Field, like Horses, Oxen, Cows, Sheep, Goats and what else one runs into in the countryside; this is a pleasant Study and useful relaxation for the Draughtsmen (besides the relief that it provides as the leisure of the usual Figure-Practice); moreover it is a way to make oneself Universal in the Art: {That one should love all Study of the Art of Painting.} ‘Because he cannot be considered a great Master or bright Mind, (says Leonardo da Vinci) who is only perfect at one thing; there are few such firm brains that with time will arrive at doing one thing well: Adding that a Young Man who does not love all parts of the Art equally, he may be as bright as he wishes, but he will never become a great universal Master.’ In general one observes that Draughtsmen and Painters who have inclination for that which concerns the Landscapes, and when they are asked to go draw after the life, or find a reason to make them [ndr.: i.e. landscapes], or to draw after the life, they often boast that this Study is too bad to waste their time on; and because of this neglect, amongst other things, it happens that so few are able to make themselves general in the Art. But to improve on this flaw, it is advisable that one goes twice or three times a year to the countryside, to draw after the life according to the different seasons, the landscapes and all that may be gathered from it to advance the Universal Study:

The citation from Leonardo da Vinci is not included in the English translation and the reflection on how to become a universal master is only partially included. [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] {Drawing the landscape is very useful and delightful.} But before we part from the life, we cannot omit to also briefly point out the use of Drawing Landscapes, Perspectives, Mountains, Dunes, Shadows in the Forrest, Bushes, Plants, Ruins and all sorts of Animals of the Field, like Horses, Oxen, Cows, Sheep, Goats and what else one runs into in the countryside; this is a pleasant Study and useful relaxation for the Draughtsmen (besides the relief that it provides as the leisure of the usual Figure-Practice); moreover it is a way to make oneself Universal in the Art: {That one should love all Study of the Art of Painting.} ‘Because he cannot be considered a great Master or bright Mind, (says Leonardo da Vinci) who is only perfect at one thing; there are few such firm brains that with time will arrive at doing one thing well: Adding that a Young Man who does not love all parts of the Art equally, he may be as bright as he wishes, but he will never become a great universal Master.’ In general one observes that Draughtsmen and Painters who have inclination for that which concerns the Landscapes, and when they are asked to go draw after the life, or find a reason to make them [ndr.: i.e. landscapes], or to draw after the life, they often boast that this Study is too bad to waste their time on; and because of this neglect, amongst other things, it happens that so few are able to make themselves general in the Art. But to improve on this flaw, it is advisable that one goes twice or three times a year to the countryside, to draw after the life according to the different seasons, the landscapes and all that may be gathered from it to advance the Universal Study:

The citation from Leonardo da Vinci is not included in the English translation and the reflection on how to become a universal master is only partially included. [MO]

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

[suggested translation, Marije Osnabrugge:] {Drawing the landscape is very useful and delightful.} But before we part from the life, we cannot omit to also briefly point out the use of Drawing Landscapes, Perspectives, Mountains, Dunes, Shadows in the Forrest, Bushes, Plants, Ruins and all sorts of Animals of the Field, like Horses, Oxen, Cows, Sheep, Goats and what else one runs into in the countryside; this is a pleasant Study and useful relaxation for the Draughtsmen (besides the relief that it provides as the leisure of the usual Figure-Practice); moreover it is a way to make oneself Universal in the Art: {That one should love all Study of the Art of Painting.} ‘Because he cannot be considered a great Master or bright Mind, (says Leonardo da Vinci) who is only perfect at one thing; there are few such firm brains that with time will arrive at doing one thing well: Adding that a Young Man who does not love all parts of the Art equally, he may be as bright as he wishes, but he will never become a great universal Master.’ In general one observes that Draughtsmen and Painters who have inclination for that which concerns the Landscapes, and when they are asked to go draw after the life, or find a reason to make them [ndr.: i.e. landscapes], or to draw after the life, they often boast that this Study is too bad to waste their time on; and because of this neglect, amongst other things, it happens that so few are able to make themselves general in the Art. But to improve on this flaw, it is advisable that one goes twice or three times a year to the countryside, to draw after the life according to the different seasons, the landscapes and all that may be gathered from it to advance the Universal Study:

The citation from Leonardo da Vinci is not included in the English translation and the reflection on how to become a universal master is only partially included. [MO]

algemeen

Conceptual field(s)

L’ARTISTE → qualités

{Die mannier om haer kleyn belangh wedersprooken.} Doch mijns oordeels soo isset met alle dese dingen als met de Kreeften, aen welcke meer te peuselen dan te eten is; en men kan sich (voor die een wynigh de Doorsicht-kunde verstaet) daer ontrent genoegh met het Oogh behelpen, soo wanneermen daer te deegh op acht geeft: want het voornaemste dat in een Lantschap moet waergenomen worden, is de Natuerlijcke houdinghe, en de perspectijf, dat daer in wesende, sal vorder aen de Gelijck-formighe trecken weynigh gelegen wesen; des soo en behoeftmen sich met Glasen, noch ramen niet te behelpen, dat al valsche Leyts-luy zijn die vanden rechten wegh afwijsen; daerom die oock selden van groote Meesters zijn weerdigh geacht om de handen daer aen te slaen.

terms translations

[suggested translation, Marije Osnabrugge:] {That manner is contradicted because of its small importance.} Yet according to my opinion with all these things it is like Lobsters, on which one nibbles rather than eats; and one may sufficiently help oneself (for those who understand the Perspective a little) with the Eye, when one pays good attention to it: because the principal thing to be observed in a Landscape, is the Natural harmony, and the perspective, that is in it, for the rest few depends on the similar elements; as such one does not need to make do with Glass, nor windows, which are all false guides that lead astray from the right way; which is why they are seldom accepted by Great Masters to make use of.

This section is not included in the English translation. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
terms translations

[suggested translation, Marije Osnabrugge:] {That manner is contradicted because of its small importance.} Yet according to my opinion with all these things it is like Lobsters, on which one nibbles rather than eats; and one may sufficiently help oneself (for those who understand the Perspective a little) with the Eye, when one pays good attention to it: because the principal thing to be observed in a Landscape, is the Natural harmony, and the perspective, that is in it, for the rest few depends on the similar elements; as such one does not need to make do with Glass, nor windows, which are all false guides that lead astray from the right way; which is why they are seldom accepted by Great Masters to make use of.

This section is not included in the English translation. [MO]

Conceptual field(s)

GENRES PICTURAUX → paysage
terms translations

[suggested translation, Marije Osnabrugge:] {That manner is contradicted because of its small importance.} Yet according to my opinion with all these things it is like Lobsters, on which one nibbles rather than eats; and one may sufficiently help oneself (for those who understand the Perspective a little) with the Eye, when one pays good attention to it: because the principal thing to be observed in a Landscape, is the Natural harmony, and the perspective, that is in it, for the rest few depends on the similar elements; as such one does not need to make do with Glass, nor windows, which are all false guides that lead astray from the right way; which is why they are seldom accepted by Great Masters to make use of.

This section is not included in the English translation. [MO]

Conceptual field(s)

L’ARTISTE → qualités
SPECTATEUR → perception et regard
terms translations

[suggested translation, Marije Osnabrugge:] {That manner is contradicted because of its small importance.} Yet according to my opinion with all these things it is like Lobsters, on which one nibbles rather than eats; and one may sufficiently help oneself (for those who understand the Perspective a little) with the Eye, when one pays good attention to it: because the principal thing to be observed in a Landscape, is the Natural harmony, and the perspective, that is in it, for the rest few depends on the similar elements; as such one does not need to make do with Glass, nor windows, which are all false guides that lead astray from the right way; which is why they are seldom accepted by Great Masters to make use of.

This section is not included in the English translation. [MO]

Conceptual field(s)

EFFET PICTURAL → perspective

{Teycken-Kool en haer gebruyck.} ’t Is in ’t gemeen het gebruyck datmen tot de eerste Schetsingh en stellingh van sijne Teyckeningh de Bus-Kool besicht, insonderheyt voor de Leerlingen, als zijnde een groot behulp voor de Jeught, Ja selfs oock voor Meesters, ofte die nu al vast inde Teycken-Konst geworden zijn; Overmits datmen al ’t geen daer mede gestelt is, en niet na onsen wensch en behooren uytvalt, ’t selve veelmael kan uytwissen, en andermael herdoen. Oock gebruycken eenige het Pot-loot om hunne schetsen en eerste stellingen te maecken, daer sy dan eenen vasten en wissen ommetreck met de Schrijf-Penne of eenigh ander bestandigh Kryon, met naeuwer op-merckingh overheen maecken.

terms translations

[suggested translation, Marije Osnabrugge:] {Charcoal to draw and its use.} It is the general custom to use charcoal for the initial draft and composition of one’s Drawing, especially for the Pupils, as it is of great use for the Youth, Yes even for the Masters, whether or not they are steady in the Art of Drawing; Because all that one has done with it, which is not according to our liking, can be erased several times, and done again. Some also use the Pencil to make their drafts and initial compositions, on top of which they can then make a firm and clear contour with the Writing-Pen or any other durable Crayon, with closer observation.

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] {Charcoal to draw and its use.} It is the general custom to use charcoal for the initial draft and composition of one’s Drawing, especially for the Pupils, as it is of great use for the Youth, Yes even for the Masters, whether or not they are steady in the Art of Drawing; Because all that one has done with it, which is not according to our liking, can be erased several times, and done again. Some also use the Pencil to make their drafts and initial compositions, on top of which they can then make a firm and clear contour with the Writing-Pen or any other durable Crayon, with closer observation.

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] {Charcoal to draw and its use.} It is the general custom to use charcoal for the initial draft and composition of one’s Drawing, especially for the Pupils, as it is of great use for the Youth, Yes even for the Masters, whether or not they are steady in the Art of Drawing; Because all that one has done with it, which is not according to our liking, can be erased several times, and done again. Some also use the Pencil to make their drafts and initial compositions, on top of which they can then make a firm and clear contour with the Writing-Pen or any other durable Crayon, with closer observation.

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] {Charcoal to draw and its use.} It is the general custom to use charcoal for the initial draft and composition of one’s Drawing, especially for the Pupils, as it is of great use for the Youth, Yes even for the Masters, whether or not they are steady in the Art of Drawing; Because all that one has done with it, which is not according to our liking, can be erased several times, and done again. Some also use the Pencil to make their drafts and initial compositions, on top of which they can then make a firm and clear contour with the Writing-Pen or any other durable Crayon, with closer observation.

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition

{In ’t verkiesen van Teycken-stoffen heeft yeder sijn vryheydt.} De andere stoffen nu daer mede datmen uytvoert en opteyckent zijn veel en verschyden, en daer in kan niemant een Wet gestelt worden, dewijl yder sijn lust daer in voldoen moet. {Root-Krijt.} Sommige ghebruycken het Root-Krijt ofte Roode Aerde, welcke wel de gemeenste onder alle Teyckenaers in Italien doorgaens gebesicht; {Swart-Krijt.} van ghelijcke is oock het swart Krijt seer bequaem; maer men kan dat niet altijt aentreffen dat goet is: In ’t gemeen soo heeft het twee gebreecken, die de Teyckenaers seer verdrietigh maken, de eene is dat het te weeck, kortbrakigh en brockelachtigh is, d’andere dat het veeltijdts hart en steenigh is

terms translations

[suggested translation, Marije Osnabrugge:] {Everyone has his freedom in chosing the Drawing materials.} The other materials with which one executes and draws in more detail [ndr.: optekenen refers to the final stage of the drawing process] are many and diverse, and nobody can be prescribed a Law for it, while everyone should satisfy his desire with it. {Red Chalk.} Some use the Red Chalk or Red Earth, which is the most commonly used amongst all Draughtsmen in Italy; {Black Chalk.} similarly black Chalk is also very adequate; but one cannot always find any of good quality: In general it has two flaws, that greatly sadden the Draughtsmen, one is that it is too weak, breaks easily and brittle, the other that it is often hard and stony;

École italienne

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] {Everyone has his freedom in chosing the Drawing materials.} The other materials with which one executes and draws in more detail [ndr.: optekenen refers to the final stage of the drawing process] are many and diverse, and nobody can be prescribed a Law for it, while everyone should satisfy his desire with it. {Red Chalk.} Some use the Red Chalk or Red Earth, which is the most commonly used amongst all Draughtsmen in Italy; {Black Chalk.} similarly black Chalk is also very adequate; but one cannot always find any of good quality: In general it has two flaws, that greatly sadden the Draughtsmen, one is that it is too weak, breaks easily and brittle, the other that it is often hard and stony;

École italienne

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] {Everyone has his freedom in chosing the Drawing materials.} The other materials with which one executes and draws in more detail [ndr.: optekenen refers to the final stage of the drawing process] are many and diverse, and nobody can be prescribed a Law for it, while everyone should satisfy his desire with it. {Red Chalk.} Some use the Red Chalk or Red Earth, which is the most commonly used amongst all Draughtsmen in Italy; {Black Chalk.} similarly black Chalk is also very adequate; but one cannot always find any of good quality: In general it has two flaws, that greatly sadden the Draughtsmen, one is that it is too weak, breaks easily and brittle, the other that it is often hard and stony;

École italienne

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
MATERIALITE DE L’ŒUVRE → couleurs

Om deze en andere moyelijckheden te vermijden, soumen het Root-Krijt konnen verkiesen, dewijl sulcks meest altijdt bequaem is, daermen oock wel met Swart Krijt wat onder Teyckent, en eenighe toetsen en diepselen mede maeckt, soo als ‘et heden tendaghen noch veele Teyckeningen gesien worden, van Italiaense, en andere Meesters. {Wassen.} Oock teyckentmen met de Pinceel datmen wassen noemt, en dat doet men met Sappen en Incten, als daer is Roet, ofte Bitter uyt de Schoorsteen, gevreven Indigo, gemenght Root-Krijt, en diergelijcke: {Oost-Indische Inct de beste stoffe om te Wassen.} Maer voornamentlijck is den Oost-Indischen Inct een fraye stoffe, die sich met simpel Regen-water ghemenght seer wel en suyver laet gebruycken;

terms translations

[suggested translation, Marije Osnabrugge:] To avoid this and other difficulties, one might choose Red Chalk, while that is almost always adequate, with which can also draw underneath the Black Chalk and make some touches and depths with it, as one can nowadays see many Drawings, by Italian and other Masters. {Washing.} One also draws with the Pencil, which is called washing, and this is done with Juices and Inks, such as Soot, or Bitter from the Chimney, rubbed Indigo mixed with Red Chalk and such: {India Ink is the best material to wash with.} But foremost the India Ink is a beautiful material, which can be used well and purely mixed with rainwater;

École italienne

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] To avoid this and other difficulties, one might choose Red Chalk, while that is almost always adequate, with which can also draw underneath the Black Chalk and make some touches and depths with it, as one can nowadays see many Drawings, by Italian and other Masters. {Washing.} One also draws with the Pencil, which is called washing, and this is done with Juices and Inks, such as Soot, or Bitter from the Chimney, rubbed Indigo mixed with Red Chalk and such: {India Ink is the best material to wash with.} But foremost the India Ink is a beautiful material, which can be used well and purely mixed with rainwater;

École italienne

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] To avoid this and other difficulties, one might choose Red Chalk, while that is almost always adequate, with which can also draw underneath the Black Chalk and make some touches and depths with it, as one can nowadays see many Drawings, by Italian and other Masters. {Washing.} One also draws with the Pencil, which is called washing, and this is done with Juices and Inks, such as Soot, or Bitter from the Chimney, rubbed Indigo mixed with Red Chalk and such: {India Ink is the best material to wash with.} But foremost the India Ink is a beautiful material, which can be used well and purely mixed with rainwater;

École italienne

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
terms translations

[suggested translation, Marije Osnabrugge:] To avoid this and other difficulties, one might choose Red Chalk, while that is almost always adequate, with which can also draw underneath the Black Chalk and make some touches and depths with it, as one can nowadays see many Drawings, by Italian and other Masters. {Washing.} One also draws with the Pencil, which is called washing, and this is done with Juices and Inks, such as Soot, or Bitter from the Chimney, rubbed Indigo mixed with Red Chalk and such: {India Ink is the best material to wash with.} But foremost the India Ink is a beautiful material, which can be used well and purely mixed with rainwater;

École italienne

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
CONCEPTION DE LA PEINTURE → couleur

En al-hoe-wel dit [ndr: teyckenen met de Schrijf-Penne] selfs by veele Meesters is in Oeffeninge geweest, soo moetmen weten dat sy deselve meest hebben ghebruyckt, om veerdigh ende met stoute artseringhen haer dingen Meesterachtigh aen te wijsen, dat oock meest maer ruwe dingen en zijn, maer daer toe gebruycktmen oock wel in plaets van een Schrijf-Penn een Pen van Riet {Riet-Pen.}, (…) Men neemt in ’t gemeen de stucken tot de Pennen een Spanne langh, en versnijdt die als een Schrijf-Pen, datmen hier aen twee eynden kan doen, de spleet moet wat langhachtigh zijn op datse wat losser vloyen soude, en een weynigh fijn, om soo wel luchtige en Eele trecken, als breede en smeerige strijmen daer mede te konnen halen. Dese Riet-Pen is seer bequaem om Landschappen, Ruynen, ende andere rustige dinghen te Teyckenen; heeft een bysondere lossigheyt in ’t handelen, in ’t gemeen ghebruycktmen die met Roet en schoon Water, oock wel een wynigh gemeenen, ofte Oost-Indischen Inct daer onder, dat een aerdigh ghebroocken Coleur geeft;

terms translations

[suggested translation, Marije Osnabrugge:] And although this [ndr.: drawing with a Writing-Pen] has even been practiced by many Masters, as such one should know that they have used it mainly to competently and with bold hatchings point out their things in a masterful way, which often are but rough things, but for this one also uses a Reed-Pen instead of a Writing-Pen {Reed pen.}, (…) For the pens one commonly takes a piece of a span [ndr.: circa 20 cm], and cuts it like a Writing Pen, which one can do here on both sides, the slit should be rather long for it to flow more loosely, and rather subtle, to be able to make airy and noble as well as broad and dirty stripes streaks with it. This Reed Pen is very adequate to draw Landscapes, Ruins and other calm things; it also has a particular looseness in handling, in general one uses it with Soot and clean Water, also with some general or Indian ink underneath it, which provides a nice broken Colour;

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] And although this [ndr.: drawing with a Writing-Pen] has even been practiced by many Masters, as such one should know that they have used it mainly to competently and with bold hatchings point out their things in a masterful way, which often are but rough things, but for this one also uses a Reed-Pen instead of a Writing-Pen {Reed pen.}, (…) For the pens one commonly takes a piece of a span [ndr.: circa 20 cm], and cuts it like a Writing Pen, which one can do here on both sides, the slit should be rather long for it to flow more loosely, and rather subtle, to be able to make airy and noble as well as broad and dirty stripes streaks with it. This Reed Pen is very adequate to draw Landscapes, Ruins and other calm things; it also has a particular looseness in handling, in general one uses it with Soot and clean Water, also with some general or Indian ink underneath it, which provides a nice broken Colour;

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

EFFET PICTURAL → touche
terms translations

[suggested translation, Marije Osnabrugge:] And although this [ndr.: drawing with a Writing-Pen] has even been practiced by many Masters, as such one should know that they have used it mainly to competently and with bold hatchings point out their things in a masterful way, which often are but rough things, but for this one also uses a Reed-Pen instead of a Writing-Pen {Reed pen.}, (…) For the pens one commonly takes a piece of a span [ndr.: circa 20 cm], and cuts it like a Writing Pen, which one can do here on both sides, the slit should be rather long for it to flow more loosely, and rather subtle, to be able to make airy and noble as well as broad and dirty stripes streaks with it. This Reed Pen is very adequate to draw Landscapes, Ruins and other calm things; it also has a particular looseness in handling, in general one uses it with Soot and clean Water, also with some general or Indian ink underneath it, which provides a nice broken Colour;

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] And although this [ndr.: drawing with a Writing-Pen] has even been practiced by many Masters, as such one should know that they have used it mainly to competently and with bold hatchings point out their things in a masterful way, which often are but rough things, but for this one also uses a Reed-Pen instead of a Writing-Pen {Reed pen.}, (…) For the pens one commonly takes a piece of a span [ndr.: circa 20 cm], and cuts it like a Writing Pen, which one can do here on both sides, the slit should be rather long for it to flow more loosely, and rather subtle, to be able to make airy and noble as well as broad and dirty stripes streaks with it. This Reed Pen is very adequate to draw Landscapes, Ruins and other calm things; it also has a particular looseness in handling, in general one uses it with Soot and clean Water, also with some general or Indian ink underneath it, which provides a nice broken Colour;

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
EFFET PICTURAL → touche
terms translations

[suggested translation, Marije Osnabrugge:] And although this [ndr.: drawing with a Writing-Pen] has even been practiced by many Masters, as such one should know that they have used it mainly to competently and with bold hatchings point out their things in a masterful way, which often are but rough things, but for this one also uses a Reed-Pen instead of a Writing-Pen {Reed pen.}, (…) For the pens one commonly takes a piece of a span [ndr.: circa 20 cm], and cuts it like a Writing Pen, which one can do here on both sides, the slit should be rather long for it to flow more loosely, and rather subtle, to be able to make airy and noble as well as broad and dirty stripes streaks with it. This Reed Pen is very adequate to draw Landscapes, Ruins and other calm things; it also has a particular looseness in handling, in general one uses it with Soot and clean Water, also with some general or Indian ink underneath it, which provides a nice broken Colour;

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

EFFET PICTURAL → touche
terms translations

[suggested translation, Marije Osnabrugge:] And although this [ndr.: drawing with a Writing-Pen] has even been practiced by many Masters, as such one should know that they have used it mainly to competently and with bold hatchings point out their things in a masterful way, which often are but rough things, but for this one also uses a Reed-Pen instead of a Writing-Pen {Reed pen.}, (…) For the pens one commonly takes a piece of a span [ndr.: circa 20 cm], and cuts it like a Writing Pen, which one can do here on both sides, the slit should be rather long for it to flow more loosely, and rather subtle, to be able to make airy and noble as well as broad and dirty stripes streaks with it. This Reed Pen is very adequate to draw Landscapes, Ruins and other calm things; it also has a particular looseness in handling, in general one uses it with Soot and clean Water, also with some general or Indian ink underneath it, which provides a nice broken Colour;

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] And although this [ndr.: drawing with a Writing-Pen] has even been practiced by many Masters, as such one should know that they have used it mainly to competently and with bold hatchings point out their things in a masterful way, which often are but rough things, but for this one also uses a Reed-Pen instead of a Writing-Pen {Reed pen.}, (…) For the pens one commonly takes a piece of a span [ndr.: circa 20 cm], and cuts it like a Writing Pen, which one can do here on both sides, the slit should be rather long for it to flow more loosely, and rather subtle, to be able to make airy and noble as well as broad and dirty stripes streaks with it. This Reed Pen is very adequate to draw Landscapes, Ruins and other calm things; it also has a particular looseness in handling, in general one uses it with Soot and clean Water, also with some general or Indian ink underneath it, which provides a nice broken Colour;

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils
terms translations

[suggested translation, Marije Osnabrugge:] And although this [ndr.: drawing with a Writing-Pen] has even been practiced by many Masters, as such one should know that they have used it mainly to competently and with bold hatchings point out their things in a masterful way, which often are but rough things, but for this one also uses a Reed-Pen instead of a Writing-Pen {Reed pen.}, (…) For the pens one commonly takes a piece of a span [ndr.: circa 20 cm], and cuts it like a Writing Pen, which one can do here on both sides, the slit should be rather long for it to flow more loosely, and rather subtle, to be able to make airy and noble as well as broad and dirty stripes streaks with it. This Reed Pen is very adequate to draw Landscapes, Ruins and other calm things; it also has a particular looseness in handling, in general one uses it with Soot and clean Water, also with some general or Indian ink underneath it, which provides a nice broken Colour;

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

EFFET PICTURAL → touche
MANIÈRE ET STYLE → le faire et la main

{Geolyde Cóól.} Behalven alle dese is oock de Ge-olyde Kóól een seer nutte stoffe, om mede te Teyckenen, maer moet niet swaer-moedigh gehandelt werden: Is oock meer tot groote en rustighe Beelden dan tot de kleyne en Curieuse dingen bequaem; oock om groote Cartonnen van gantsche Ordinantien te Teyckenen, als d’Oude Meesters veel plagten te doen. Op Gront-Papier laetse sich heel wel en sacht ghebruycken, insonderheydt wanneerse goet is;

terms translations

[suggested translation, Marije Osnabrugge:] {Oiled Coal.} Besides all these, the Oiled Coal is also a very useful material to draw with, but it should not be used too heavily: It is more useful for big and calm Figures than for small and curious things; also to draw big Cartons of entire compositions, as the Old masters tended to often do. On grounded paper it can be handeled very well and softly, especially if it is of good quality;

Anciens (les)

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin

Daer wert oock noch een tweede soort van stoffe in ’t Teyckenen gebruyckt, namentlijck tot de hooghsels, soo wanneermen op Gront-Papier Teyckent; en daer toe gebruycktmen gemeenlijck vande Kley daermen de Toebacks-Pijpen af backt; dese roltmen (weeck zijnde) in Pennekens, een Vinger lanck {Pijp-aerde.}: (…) Nu tot een stercker Hooghsel, soo neemtmen oock wel Wit-krijt {Wit-krijt.}; en is dienstigh, om by gheval hier en daer een sterck Hooghsel te maecken.

terms translations

[suggested translation, Marije Osnabrugge:] There is also a second type of material that is used for Drawing, namely for the highlights, when one draws on Grounded Paper: one commonly uses of the Clay of which one bakes Tabacco Pipes; these are rolled (when soft) into Small pens of a finger long {Pipeclay.}: (…) For a stronger Highlight one also takes the White Chalk {White Chalk.}; and it is useful to randomly make a strong highlight here or there.

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] There is also a second type of material that is used for Drawing, namely for the highlights, when one draws on Grounded Paper: one commonly uses of the Clay of which one bakes Tabacco Pipes; these are rolled (when soft) into Small pens of a finger long {Pipeclay.}: (…) For a stronger Highlight one also takes the White Chalk {White Chalk.}; and it is useful to randomly make a strong highlight here or there.

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin

{Koleurde Cryonnen.} De voorseyde witte Pijp-aerde, kanmen oock wel ghebruycken om allerhande gecoleurde Cryonnen van te maecken; datmen aldus doet: (…) soo sullense seer bequaem zijn, om hier en daer het zy in Schetsen, Ordinantien en Teyckeningen, de dingen Schilderachtig, met haer eygene Coleuren, aen te wijsen; en dan door Gomwater halen; waer door de Cryonnen dan vast worden, en het af-schueren ontvlieden. Andere maecken dese Cryonnen met oude Lijm, Gom en andere stoffen, daerse gansche Conterfeytsels seer aerdigh en natuerlijck mede Teckenen konnen, die by na Geschilderdert schijnen.

terms translations

[suggested translation, Marije Osnabrugge:] {Colored Crayons.} The aforementioned Pipeclay can also be used to make all sorts of colored Crayons; which is done as follows: (…) as such they will be very adequate to accentuate in Sketches, Compositions and Drawings the things in a painterly way, with their proper colors; and afterwards pass through the Gum Water; by which the Crayons become firm and avoid tearing. Others make these Crayons with old Glue, Gum and other materials, with which they can draw whole portraits very nicely and naturally, they almost appear Painted.

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → beauté, grâce et perfection
terms translations

[suggested translation, Marije Osnabrugge:] {Colored Crayons.} The aforementioned Pipeclay can also be used to make all sorts of colored Crayons; which is done as follows: (…) as such they will be very adequate to accentuate in Sketches, Compositions and Drawings the things in a painterly way, with their proper colors; and afterwards pass through the Gum Water; by which the Crayons become firm and avoid tearing. Others make these Crayons with old Glue, Gum and other materials, with which they can draw whole portraits very nicely and naturally, they almost appear Painted.

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] {Colored Crayons.} The aforementioned Pipeclay can also be used to make all sorts of colored Crayons; which is done as follows: (…) as such they will be very adequate to accentuate in Sketches, Compositions and Drawings the things in a painterly way, with their proper colors; and afterwards pass through the Gum Water; by which the Crayons become firm and avoid tearing. Others make these Crayons with old Glue, Gum and other materials, with which they can draw whole portraits very nicely and naturally, they almost appear Painted.

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] {Colored Crayons.} The aforementioned Pipeclay can also be used to make all sorts of colored Crayons; which is done as follows: (…) as such they will be very adequate to accentuate in Sketches, Compositions and Drawings the things in a painterly way, with their proper colors; and afterwards pass through the Gum Water; by which the Crayons become firm and avoid tearing. Others make these Crayons with old Glue, Gum and other materials, with which they can draw whole portraits very nicely and naturally, they almost appear Painted.

In this section Goeree explicitly discusses which choice of drawing material is best for each stage of the drawing process. The German translator uses the description ‘nach der Mahlerkunst’ to translate the Dutch term ‘schilderachtig’. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs

{Wit Papier.} Het witte Papier heeft in ’t generael dat ghebruyck, datmen daer op seer net en uytvoerigh, met vellerhande Teycken-Cryen, het zy Artseeren, Reuselen, of met Sappen wassen, Ja oock met Water-verwen Schilderen kan:

terms translations

[suggested translation, Marije Osnabrugge:] {White Paper.} The white Paper has the common use, that one can either Hatch, Rousle or wash with Juices, Yes also Paint with Aquarelle, in a very neat and elaborate way:

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin

{Leerlingen is geraden de handeling van hun Principael te volgen.} Evenwel en is ’t niet ongeraden, dat de Jongelingen in het Na-teyckenen van Teyckeningen, deselve manniere en handelingh van hun Principael soecken na te volgen, op datse alsoo een begin van handelinghe mochten bekomen, die haer door het veel Teyckenen allenghskens tot een manniere schicken mocht, om hun al haer dagen by te blijven, en die haer eygen te maecken.

terms translations

[suggested translation, Marije Osnabrugge:] {Pupils are advised to follow the handling of their Original.} Moreover it is advisable that the Pupils attempt to follow the same manner and handling of the Original in the drawing after Drawings, so that they may obtain a beginning of a handling that may shape itself into a manner through drawing a lot, to stick with them until the end of their days, and make their own.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] {Pupils are advised to follow the handling of their Original.} Moreover it is advisable that the Pupils attempt to follow the same manner and handling of the Original in the drawing after Drawings, so that they may obtain a beginning of a handling that may shape itself into a manner through drawing a lot, to stick with them until the end of their days, and make their own.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] {Pupils are advised to follow the handling of their Original.} Moreover it is advisable that the Pupils attempt to follow the same manner and handling of the Original in the drawing after Drawings, so that they may obtain a beginning of a handling that may shape itself into a manner through drawing a lot, to stick with them until the end of their days, and make their own.

Conceptual field(s)

L’ARTISTE → apprentissage
CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] {Pupils are advised to follow the handling of their Original.} Moreover it is advisable that the Pupils attempt to follow the same manner and handling of the Original in the drawing after Drawings, so that they may obtain a beginning of a handling that may shape itself into a manner through drawing a lot, to stick with them until the end of their days, and make their own.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

{Artseeren.} Het zy dan voor eerst, als ghy Artseert, soo let wel dat ghy die niet schrabbeligh noch mager en haelt, maer liever wat breet en smeerigh; {Manniere hoe te doen.} oock soo moet ghy die van boven na beneden halen, dat is, van het fijne ofte scherpe na het breede toe: Nu, sommige eenparige en vlacke schaduwen, moetmen over al even breet en ghelijck maecken.

terms translations

[suggested translation, Marije Osnabrugge:] {Hatching.} Foremost, when you are hatching, pay attention to not make scrabbling or thin streaks, but rather a bit more broad and dirty; {Manner how to do it.} you should moreover stroke from high to low, that is, from the fine or sharp to the broad: Now, some even and flat shadows you should make equally broad and even everywhere.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin

{Reuselen.} Wat nu het Reuselen belanght, ’t selve is mede een seer goede manniere, en verscheelt weynigh van het Artseeren; alleen, dat het dicht in malkanderen souden treck of striemen moet ghereuselt werden; en wanneer datmen een Teyckeningh met dese manniere begint uyt te schaduwen, soo moetmen die flaeuw, valck, en eenparigh aenreuselen, en snel tegen de kanten vanden dagh aensetten; (…) En aengesien een Teyckeningh door dese handelingh alleen, niet veel gratie noch Meesterachtigheyt en bekomt, maer seer plat en mager slaet, soo moetmen die hier endaer met lughtighe Artseeringen overgaen; oock om eenighe schaduwen die wat te hart tegen ’t Licht mochten stooten, hier door wat te versachten; die dan kantigh en te gelijck sacht sullen toonen te zijn.

terms translations

[suggested translation, Marije Osnabrugge:] {Rouseling.} What the Rouseling is concerned, it is also a very good manner and differs little from the Hatching; except that the streak or stripe that are close to each other should be rouseled; and when one starts to shadow a Drawing in this manner, then one should rousel it faintly, flatly and evenly, and place it quickly against the edges of the light; (…) And since the Drawing does not obtain much grace nor Mastery from this manner alone, but becomes very flat and poor, as such one should go over it with airy Hatchings; also to soften some shadows that bump a bit too hardly against the light at some places; which will then appear edgy and soft at the same time.

Conceptual field(s)

CONCEPTS ESTHETIQUES → beauté, grâce et perfection
EFFET PICTURAL → qualité du dessin
terms translations

[suggested translation, Marije Osnabrugge:] {Rouseling.} What the Rouseling is concerned, it is also a very good manner and differs little from the Hatching; except that the streak or stripe that are close to each other should be rouseled; and when one starts to shadow a Drawing in this manner, then one should rousel it faintly, flatly and evenly, and place it quickly against the edges of the light; (…) And since the Drawing does not obtain much grace nor Mastery from this manner alone, but becomes very flat and poor, as such one should go over it with airy Hatchings; also to soften some shadows that bump a bit too hardly against the light at some places; which will then appear edgy and soft at the same time.

In the German translation, this term is translated as 'meisterliches Ansehen'. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité du dessin
MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] {Rouseling.} What the Rouseling is concerned, it is also a very good manner and differs little from the Hatching; except that the streak or stripe that are close to each other should be rouseled; and when one starts to shadow a Drawing in this manner, then one should rousel it faintly, flatly and evenly, and place it quickly against the edges of the light; (…) And since the Drawing does not obtain much grace nor Mastery from this manner alone, but becomes very flat and poor, as such one should go over it with airy Hatchings; also to soften some shadows that bump a bit too hardly against the light at some places; which will then appear edgy and soft at the same time.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] {Rouseling.} What the Rouseling is concerned, it is also a very good manner and differs little from the Hatching; except that the streak or stripe that are close to each other should be rouseled; and when one starts to shadow a Drawing in this manner, then one should rousel it faintly, flatly and evenly, and place it quickly against the edges of the light; (…) And since the Drawing does not obtain much grace nor Mastery from this manner alone, but becomes very flat and poor, as such one should go over it with airy Hatchings; also to soften some shadows that bump a bit too hardly against the light at some places; which will then appear edgy and soft at the same time.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière

{Doeselen, en algemeen gebreck van ’t selve.} Nu, de derde manniere van handelinge die noemtmen Doeselen; ’t welck geschiet door Boom-wol in een Schaght gesteecken, waer mede datmen de Schaduwen diemen Gearseert ofte liever Gereuselt heeft, in malkander Doeselt, dommelt en verdrijft; dat oock wel met een stomp of afgesleten Pinceel kan gedaen worden. Doch alsoo dese mannier wat sijmelachtigh, myser, en niet seer Schilderachtigh is, maer veel eer ’t Werck vande Leer-Jongens der Silversmits en Steen-houwers gelijckt; soo willen wy daer niets van seggen, als ’t gene ons daer in tegen-staet: namentlijck, datmen door het Doeselen gemeenlijck in een steenachtige Stijfvigheyt, in voosigheydt, en in verbreeckinghe vande snelle schaduwen, en vlacke parthyen vervalt; ten ware eenige kleynen en Curieuse dingen, of datmen het met groote voorsichtigheydt, gedult en langen arbeyt konde doen, sonder daer door inde geseyde gebreecken te vallen, gelijck wy wel soodanige ghehandelt hebben gesien, die seer goet waeren, maer was al voor wat onghemeens te houden.

terms translations

[suggested translation, Marije Osnabrugge:] {Doeseling and the common flaw of it.} Now, the third manner of handling one calls the Doeseling; which is done by placing Cotton in a shaft, with which one doeseled, smoothens and diminishes the shadows that one has Hatched or rather Roeseled; which can also be done with a blunt or worn Brush. Yet while this manner is a bit vague and not very Painterly, but quickly appears to be the Work of the Pupils of Silversmiths and Stone-cutters; as such we will not say much about is, except that which we do not like: namely, that by doeseling one commonly lapses into a stony stiffness, in fuzziness, and in the interruption of quick shadows and flat parts; unless it were some small or curious things, or one would do it with great caution, patience and long labor, without falling into the aforementioned flaws, as we have seen things done that way, which were very good, but this is uncommon.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] {Doeseling and the common flaw of it.} Now, the third manner of handling one calls the Doeseling; which is done by placing Cotton in a shaft, with which one doeseled, smoothens and diminishes the shadows that one has Hatched or rather Roeseled; which can also be done with a blunt or worn Brush. Yet while this manner is a bit vague and not very Painterly, but quickly appears to be the Work of the Pupils of Silversmiths and Stone-cutters; as such we will not say much about is, except that which we do not like: namely, that by doeseling one commonly lapses into a stony stiffness, in fuzziness, and in the interruption of quick shadows and flat parts; unless it were some small or curious things, or one would do it with great caution, patience and long labor, without falling into the aforementioned flaws, as we have seen things done that way, which were very good, but this is uncommon.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
CONCEPTION DE LA PEINTURE → couleur
terms translations

[suggested translation, Marije Osnabrugge:] {Doeseling and the common flaw of it.} Now, the third manner of handling one calls the Doeseling; which is done by placing Cotton in a shaft, with which one doeseled, smoothens and diminishes the shadows that one has Hatched or rather Roeseled; which can also be done with a blunt or worn Brush. Yet while this manner is a bit vague and not very Painterly, but quickly appears to be the Work of the Pupils of Silversmiths and Stone-cutters; as such we will not say much about is, except that which we do not like: namely, that by doeseling one commonly lapses into a stony stiffness, in fuzziness, and in the interruption of quick shadows and flat parts; unless it were some small or curious things, or one would do it with great caution, patience and long labor, without falling into the aforementioned flaws, as we have seen things done that way, which were very good, but this is uncommon.

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Doeseling and the common flaw of it.} Now, the third manner of handling one calls the Doeseling; which is done by placing Cotton in a shaft, with which one doeseled, smoothens and diminishes the shadows that one has Hatched or rather Roeseled; which can also be done with a blunt or worn Brush. Yet while this manner is a bit vague and not very Painterly, but quickly appears to be the Work of the Pupils of Silversmiths and Stone-cutters; as such we will not say much about is, except that which we do not like: namely, that by doeseling one commonly lapses into a stony stiffness, in fuzziness, and in the interruption of quick shadows and flat parts; unless it were some small or curious things, or one would do it with great caution, patience and long labor, without falling into the aforementioned flaws, as we have seen things done that way, which were very good, but this is uncommon.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Doeseling and the common flaw of it.} Now, the third manner of handling one calls the Doeseling; which is done by placing Cotton in a shaft, with which one doeseled, smoothens and diminishes the shadows that one has Hatched or rather Roeseled; which can also be done with a blunt or worn Brush. Yet while this manner is a bit vague and not very Painterly, but quickly appears to be the Work of the Pupils of Silversmiths and Stone-cutters; as such we will not say much about is, except that which we do not like: namely, that by doeseling one commonly lapses into a stony stiffness, in fuzziness, and in the interruption of quick shadows and flat parts; unless it were some small or curious things, or one would do it with great caution, patience and long labor, without falling into the aforementioned flaws, as we have seen things done that way, which were very good, but this is uncommon.

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Doeseling and the common flaw of it.} Now, the third manner of handling one calls the Doeseling; which is done by placing Cotton in a shaft, with which one doeseled, smoothens and diminishes the shadows that one has Hatched or rather Roeseled; which can also be done with a blunt or worn Brush. Yet while this manner is a bit vague and not very Painterly, but quickly appears to be the Work of the Pupils of Silversmiths and Stone-cutters; as such we will not say much about is, except that which we do not like: namely, that by doeseling one commonly lapses into a stony stiffness, in fuzziness, and in the interruption of quick shadows and flat parts; unless it were some small or curious things, or one would do it with great caution, patience and long labor, without falling into the aforementioned flaws, as we have seen things done that way, which were very good, but this is uncommon.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
CONCEPTION DE LA PEINTURE → couleur
terms translations

[suggested translation, Marije Osnabrugge:] {Doeseling and the common flaw of it.} Now, the third manner of handling one calls the Doeseling; which is done by placing Cotton in a shaft, with which one doeseled, smoothens and diminishes the shadows that one has Hatched or rather Roeseled; which can also be done with a blunt or worn Brush. Yet while this manner is a bit vague and not very Painterly, but quickly appears to be the Work of the Pupils of Silversmiths and Stone-cutters; as such we will not say much about is, except that which we do not like: namely, that by doeseling one commonly lapses into a stony stiffness, in fuzziness, and in the interruption of quick shadows and flat parts; unless it were some small or curious things, or one would do it with great caution, patience and long labor, without falling into the aforementioned flaws, as we have seen things done that way, which were very good, but this is uncommon.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
EFFET PICTURAL → qualité de la lumière

{Meesterlijcke hantgreep in ’t Teyckenen.} Isset evenwel dat ghy eenige aengename sachtigheyt of smeltinge in uwe dingen brengen wilt, soo gewent u in het Teyckenen van hier en daer met een Vinger, ofte slechts met de Pinck ’t selve wat te verdrijven;

terms translations

[suggested translation, Marije Osnabrugge:] {Masterly grip in Drawing.} If you however want to bring some pleasant softness or melting in your things, then accustom yourself in Drawing to here and there smoothen it with a Finger or just a Pinky;

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
terms translations

[suggested translation, Marije Osnabrugge:] {Masterly grip in Drawing.} If you however want to bring some pleasant softness or melting in your things, then accustom yourself in Drawing to here and there smoothen it with a Finger or just a Pinky;

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
terms translations

[suggested translation, Marije Osnabrugge:] {Masterly grip in Drawing.} If you however want to bring some pleasant softness or melting in your things, then accustom yourself in Drawing to here and there smoothen it with a Finger or just a Pinky;

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs

{Wassen.} Noch isser een sonderlinge fraye en seer nutte manniere van handelingh, diemen Wassen noemt, welckmen met de Pinceel en eenige Sappen ofte Incten doet, gelijck wy geseyt hebben: Dese kan in seer veel mannieren en verscheyde voorvallen geoeffent worden. Voor eerst, so isse bequaem om daer mede door haer eygen en enckel ghebruyck, op allerley soort van Papier een gansche Teyckeningh net en volkomen uyt te voeren. Ten anderen, soo dientse oock om in een Teyckeningh de voornaemste en waere schaduwen vlack aen te leggen, en dan daer over met Root, of Swart Krijt, Geolyde Kóól, of de Penne heen te Teyckenen, dat een seer goeden, luchtigen, en Teyckenachtigen welstant heeft.

terms translations

[suggested translation, Marije Osnabrugge:] {Washing.} Then there is an exceptionally beautiful and very useful manner of handling that is called Washing, which is done with the Brush and some Juices or Inks, as we have said: This can be practiced in very many manners and on different occasions. Foremost, it is adequate to be used to execute a whole Drawing neatly and completely on its own and alone, on all sorts of Paper. Moreover, it is also used to build up the principal and true shadows in a Drawing, and draw over it with Red or Black Crayon, Oiled Coal or the Pen, which provides a very good, airy and drawing-like harmony.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Washing.} Then there is an exceptionally beautiful and very useful manner of handling that is called Washing, which is done with the Brush and some Juices or Inks, as we have said: This can be practiced in very many manners and on different occasions. Foremost, it is adequate to be used to execute a whole Drawing neatly and completely on its own and alone, on all sorts of Paper. Moreover, it is also used to build up the principal and true shadows in a Drawing, and draw over it with Red or Black Crayon, Oiled Coal or the Pen, which provides a very good, airy and drawing-like harmony.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
CONCEPTION DE LA PEINTURE → couleur

[…] want soomen de hooghsels te na aen de twijfelachtige schaduwen brenght, soo is een gantsche Teyckeningh bedorven, en kan inder eeuwigheydt niet goet, noch Meesterachtigh, noch Schilderachtigh gemaeckt worden; maer de hooghsels op het vlak van ’t Gront-Papier, maecken een seer aerdige en natuerlijcke sachtigheydt en doen het Coleur van ’t Papier tegen de natuerlijcke en waere schaduwen en half schaduwen deselve eenparigheyt voortbrengen.

terms translations

[suggested translation, Marije Osnabrugge:] […] for if one places the highlights too close to the dubious shadows, then a whole Drawing is ruined, and can never be made good, nor Masterly, nor Painterly; but the highlights on the surface of the Grounded Paper, make a very nice and natural softness and cause a similar evenness to the Color of the Paper against the natural and true shadows and half shadows

This section is not included in the English translation. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] […] for if one places the highlights too close to the dubious shadows, then a whole Drawing is ruined, and can never be made good, nor Masterly, nor Painterly; but the highlights on the surface of the Grounded Paper, make a very nice and natural softness and cause a similar evenness to the Color of the Paper against the natural and true shadows and half shadows

This section is not included in the English translation. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] […] for if one places the highlights too close to the dubious shadows, then a whole Drawing is ruined, and can never be made good, nor Masterly, nor Painterly; but the highlights on the surface of the Grounded Paper, make a very nice and natural softness and cause a similar evenness to the Color of the Paper against the natural and true shadows and half shadows

This section is not included in the English translation. [MO]

Conceptual field(s)

EFFET PICTURAL → touche
L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] […] for if one places the highlights too close to the dubious shadows, then a whole Drawing is ruined, and can never be made good, nor Masterly, nor Painterly; but the highlights on the surface of the Grounded Paper, make a very nice and natural softness and cause a similar evenness to the Color of the Paper against the natural and true shadows and half shadows

This section is not included in the English translation. [MO]

Conceptual field(s)

EFFET PICTURAL → touche
terms translations

[suggested translation, Marije Osnabrugge:] […] for if one places the highlights too close to the dubious shadows, then a whole Drawing is ruined, and can never be made good, nor Masterly, nor Painterly; but the highlights on the surface of the Grounded Paper, make a very nice and natural softness and cause a similar evenness to the Color of the Paper against the natural and true shadows and half shadows

This section is not included in the English translation. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière

Alsmen dan yets Na-teyckent het sy na Teyckeningh, Schilderye, Rontwerck ofte het leven, soo moetmen acht geven op de generale form die uyt t’samen-settingh van verscheyde Partyen voort komt: {Hoemen het generael sal sien.} Dat is, men sal in het beschouwen van alle voorwerpen of Lichamelijcke dingen aenmercken, wat suck of sulck een saeck, voor een ghedaente in ’t generael gelijckt, (…) en dat salmen best met een half schemerende Oogh konnen onderscheiden, sonder acht te geven op eenige bysondere Partyen of deelen, die in dat Corpus souden mogen wesen; (…) en dit moetmen doen op datmen sich alsoo aende eygen gedeelten die wy daer van in gedachten hebben, niet en souden vergapen, en belet worden de Generaelheyt te sien, voor en al eermen sich van die te vooren genoegh verseeckert heeft. Niets sonder dit kan yets gelijcken te wesen dat het is, of na welck wesen het ghelijcken moet: Want het Generael besluyt de parthyen, uyt welck het generael beslaet,

terms translations

[suggested translation, Marije Osnabrugge:] As one is drawing after something, be it a Drawing, Painting, three-dimensional object [ndr.: literally: a round work] or the life, he should pay attention to the general shape that derives from the different Parts: {How to see the general.} That is, in observing all objects or physical things it should be noticed, to what such or such thing resembles a shape in the general, (…) and it is best to distinguish this with a half-closed Eye, without paying attention to any separate Parts or pieces, that may exist in the Corpus; (…) and this should be done as to not to become distracted by the specific parts that we have in our memory of these, and be prevented from seeing the Generality, before having ascertained oneself satisfactorily of it. Without this nothing can appear what it is, or what is should resemble: As the Generality encompasses the parts, where the Generality consists of,

generaelheyt · generael

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] As one is drawing after something, be it a Drawing, Painting, three-dimensional object [ndr.: literally: a round work] or the life, he should pay attention to the general shape that derives from the different Parts: {How to see the general.} That is, in observing all objects or physical things it should be noticed, to what such or such thing resembles a shape in the general, (…) and it is best to distinguish this with a half-closed Eye, without paying attention to any separate Parts or pieces, that may exist in the Corpus; (…) and this should be done as to not to become distracted by the specific parts that we have in our memory of these, and be prevented from seeing the Generality, before having ascertained oneself satisfactorily of it. Without this nothing can appear what it is, or what is should resemble: As the Generality encompasses the parts, where the Generality consists of,

corpus · generaelheyt

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] As one is drawing after something, be it a Drawing, Painting, three-dimensional object [ndr.: literally: a round work] or the life, he should pay attention to the general shape that derives from the different Parts: {How to see the general.} That is, in observing all objects or physical things it should be noticed, to what such or such thing resembles a shape in the general, (…) and it is best to distinguish this with a half-closed Eye, without paying attention to any separate Parts or pieces, that may exist in the Corpus; (…) and this should be done as to not to become distracted by the specific parts that we have in our memory of these, and be prevented from seeing the Generality, before having ascertained oneself satisfactorily of it. Without this nothing can appear what it is, or what is should resemble: As the Generality encompasses the parts, where the Generality consists of,

generael · corpus

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin

Nu is de Vrage waer door het kenbaerste sal zijn, of door de partyen bysonder, ofte door alle parthyen indien omtreck op sijn plaets begrepen en opgesloten, waer van den omtreck de generale Masse of geheel komt te vertoonen? Hier op en sullen wy geen ander Antwoorde geven, dan het Exempel van Apelles; dewelcke (als hy voor den Koningh stont, en hem dien Man bekent maecken wilde, van welcken hy in een verciert gewaet, spottelijck uyt ’s Koninghs naem te Gast genoot was) een Kool uyt de Aertstede nam, en schetsten den generaelen omtreck, die hy vande gedaente des Mans in sijn memorye hadt gehouden, soo juystvormigh op eenen muer, dat den Koningh, die den Man te vooren ghekendt hadde, uyt dese generale treck konde sien, wat voor een Man Apelles meende.

terms translations

[suggested translation, Marije Osnabrugge:] The question is now how it is most recognizable, through the parts in particular or through all parts that are contained and placed within that contour, of which the contour shows the general Mass or whole? On this we will provide no other answer than the example of Apelles; who (as he was standing before the king, and wanted to tell him about the Man in disguise who he had witnessed mocking the King’s name) took a Coal from the fire and sketched the general contour that he remembered from the shape of the Man so well-shaped on a wall, that the King, who knew the Man before, could see from this general stroke which Man Apelles meant.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] The question is now how it is most recognizable, through the parts in particular or through all parts that are contained and placed within that contour, of which the contour shows the general Mass or whole? On this we will provide no other answer than the example of Apelles; who (as he was standing before the king, and wanted to tell him about the Man in disguise who he had witnessed mocking the King’s name) took a Coal from the fire and sketched the general contour that he remembered from the shape of the Man so well-shaped on a wall, that the King, who knew the Man before, could see from this general stroke which Man Apelles meant.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin

{Gelijckenis der dingen woont meest in ’t generael.} Nu gelijck als de gelijckenis, en kennelijckheydt der dinghen meest woont inde generaelheydt der groote deelen, als wy door het Exempel van een Hooft [ndr: reference to illustration] getoont hebben, soo schuylt deselve oock in het generael van het gheheel al, ’t welck wy hier door eenighsins konnen bewijsen.

terms translations

[suggested translation, Marije Osnabrugge:] {The resemblance of things mostly lies in the Generality.} Now, just like the resemblance and characteristics of things mostly lie in the generality of the large parts, as we have shown by means of the Example of a Head [ndr.: reference to illustration], as such it hides also in the Generality of the whole thing, as we have been able to somewhat prove here.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] {The resemblance of things mostly lies in the Generality.} Now, just like the resemblance and characteristics of things mostly lie in the generality of the large parts, as we have shown by means of the Example of a Head [ndr.: reference to illustration], as such it hides also in the Generality of the whole thing, as we have been able to somewhat prove here.

generael

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] {The resemblance of things mostly lies in the Generality.} Now, just like the resemblance and characteristics of things mostly lie in the generality of the large parts, as we have shown by means of the Example of a Head [ndr.: reference to illustration], as such it hides also in the Generality of the whole thing, as we have been able to somewhat prove here.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

{Leerlingen hebben een afkeer vande vlackigheydt.} Want dit leert ons de ondervindinge dat meest alle Leerlinghen in ’t begin van hare Oeffeninge, een schroom hebben vande vlackigheydt en kantigheydt, en schijnen meerder lust tot dommeligheyt en sachtigheydt te hebben, en doorgaens de vlacke parthyen door kleyne Lichten en Schaduwen te bederven: meenende door de kantigheyt in hardigheyt te sullen vervallen, en door de vlackigheyt te veroorsaecken dat hun dinghen naeckt en onvolmaeckt souden schijnen, niet tegenstaende sy het in hun Principael voor goet keuren, kruypende daerom uyt vreese van te vallen altijt liever op Handen en Voeten, een Kinderlijcken wegh.

terms translations

[suggested translation, Marije Osnabrugge:] {Pupils resent flatness.} Because this teaches us the notion that almost all Pupils have hesitation about the flatness and angularity at the beginning of their practice, and appear to are more inclined towards dimness and softness, and frequently ruin the flat parts with small lights and shadows: believing they would lapse into hardness from angularity, and through flatness would cause their things to appear naked and imperfect, notwithstanding that they judge it right in the Original, therefore – out of fear to fall – rather crawling on Hands and Feet, in a childlike manner.

It appears that the translator who worked on the English translation, misunderstood Goeree. He mixed up what, according to Goeree, had the preference of pupils (i.e. dommeligheyt and sachtigheydt) and instead that they prefer vlackigheydt and kantigheydt. Goeree, on the other hand, stated that pupils were hesitant to produce vlackigheydt and kantigheydt and instead stick to dommeligheyt and sachtigheydt. For this reason, the corresponding translations are not provided here. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Pupils resent flatness.} Because this teaches us the notion that almost all Pupils have hesitation about the flatness and angularity at the beginning of their practice, and appear to are more inclined towards dimness and softness, and frequently ruin the flat parts with small lights and shadows: believing they would lapse into hardness from angularity, and through flatness would cause their things to appear naked and imperfect, notwithstanding that they judge it right in the Original, therefore – out of fear to fall – rather crawling on Hands and Feet, in a childlike manner.

It appears that the translator who worked on the English translation, misunderstood Goeree. He mixed up what, according to Goeree, had the preference of pupils (i.e. dommeligheyt and sachtigheydt) and instead that they prefer vlackigheydt and kantigheydt. Goeree, on the other hand, stated that pupils were hesitant to produce vlackigheydt and kantigheydt and instead stick to dommeligheyt and sachtigheydt. For this reason, the corresponding translations are not provided here. [MO]

zachtheid

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Pupils resent flatness.} Because this teaches us the notion that almost all Pupils have hesitation about the flatness and angularity at the beginning of their practice, and appear to are more inclined towards dimness and softness, and frequently ruin the flat parts with small lights and shadows: believing they would lapse into hardness from angularity, and through flatness would cause their things to appear naked and imperfect, notwithstanding that they judge it right in the Original, therefore – out of fear to fall – rather crawling on Hands and Feet, in a childlike manner.

It appears that the translator who worked on the English translation, misunderstood Goeree. He mixed up what, according to Goeree, had the preference of pupils (i.e. dommeligheyt and sachtigheydt) and instead that they prefer vlackigheydt and kantigheydt. Goeree, on the other hand, stated that pupils were hesitant to produce vlackigheydt and kantigheydt and instead stick to dommeligheyt and sachtigheydt. For this reason, the corresponding translations are not provided here. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Pupils resent flatness.} Because this teaches us the notion that almost all Pupils have hesitation about the flatness and angularity at the beginning of their practice, and appear to are more inclined towards dimness and softness, and frequently ruin the flat parts with small lights and shadows: believing they would lapse into hardness from angularity, and through flatness would cause their things to appear naked and imperfect, notwithstanding that they judge it right in the Original, therefore – out of fear to fall – rather crawling on Hands and Feet, in a childlike manner.

It appears that the translator who worked on the English translation, misunderstood Goeree. He mixed up what, according to Goeree, had the preference of pupils (i.e. dommeligheyt and sachtigheydt) and instead that they prefer vlackigheydt and kantigheydt. Goeree, on the other hand, stated that pupils were hesitant to produce vlackigheydt and kantigheydt and instead stick to dommeligheyt and sachtigheydt. For this reason, the corresponding translations are not provided here. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Pupils resent flatness.} Because this teaches us the notion that almost all Pupils have hesitation about the flatness and angularity at the beginning of their practice, and appear to are more inclined towards dimness and softness, and frequently ruin the flat parts with small lights and shadows: believing they would lapse into hardness from angularity, and through flatness would cause their things to appear naked and imperfect, notwithstanding that they judge it right in the Original, therefore – out of fear to fall – rather crawling on Hands and Feet, in a childlike manner.

It appears that the translator who worked on the English translation, misunderstood Goeree. He mixed up what, according to Goeree, had the preference of pupils (i.e. dommeligheyt and sachtigheydt) and instead that they prefer vlackigheydt and kantigheydt. Goeree, on the other hand, stated that pupils were hesitant to produce vlackigheydt and kantigheydt and instead stick to dommeligheyt and sachtigheydt. For this reason, the corresponding translations are not provided here. [MO]

hardheid

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière

{Watmen sich behoorde in te beelden.} En te meer, alsoo yeder wel weet, datmen sijne Teykeninghen door welckmen begeert te leeren, niet en maeckt om verkocht te worden, en daerom weynigh aengelegen, of die sus of soo ghehandelt zijn, alsser maer dat in betracht is, dat na de rechte Meesterschap dinckt. (…) {Waer In de ware deught van eene goede teykening bestaet.} En wat de algemeene deught van een Teyckeningh aengaet, die kanmen kortelijck seggen daer in te bestaen, datse Eel en verstandigh van omtreck en stellingh is; en daer by te gelijck vlack, snel, en kantigh, nochtans soet en sagt, volkomentlijck is uytgevoert.

terms translations

[suggested translation, Marije Osnabrugge:] {What should be imagined.} And even more so, because everybody knows that one does not make the drawings through which one wants to learn, in order to sell them, and therefore it is of little importance whether they are done such or so, as long as it has been tried in such a way that aims for true Mastery. (…) {Of what the true virtue of a good drawing consists.} And what the general virtue of a Drawing is concerned, one could briefly say that it exists in being Noble and sensible of contour and composition; as well as perfectly executed in a flat, quick, edgy, yet sweet and soft way.

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] {What should be imagined.} And even more so, because everybody knows that one does not make the drawings through which one wants to learn, in order to sell them, and therefore it is of little importance whether they are done such or so, as long as it has been tried in such a way that aims for true Mastery. (…) {Of what the true virtue of a good drawing consists.} And what the general virtue of a Drawing is concerned, one could briefly say that it exists in being Noble and sensible of contour and composition; as well as perfectly executed in a flat, quick, edgy, yet sweet and soft way.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin

{Wat snel en kantigh Teyckenen sy.} Snel of Kantigh Teyckenen, is, datmen sijn schaduwen vlack of eenparigh, het sy door Artseeringh of Reuselen, aenleyt; alsoo dat de kanten rontsom haere bepalinghe van afteyckeningh teghen het licht behouden, en datmen klaerlijck sien kan, wat voor een ongeschrevene Figuere ofte gedaente soodanigen schaduwe in sijn generael heeft; Maer niet dat hare zijden verdwijnen in een dommelighe roock, of onbepaelde voosigheyt, in welck de kantigheyt van haren form niet en kan gesien worden. {Hoemen dese kantigheyt sal bekomen.} Om dit dan rechts te bekomen, soo moeten acht geven datmen de schaduwen in den begin niet te hart en maeckt. Ten anderen datmen de eene schaduwe niet te doncker noch te sterck, of te seer gevaselt en gefirtelt op de andere en set; maer telckens snel besneden, doch weynigh van Coleur verschillende, soo sult ghy te ghelijck een gaeve kantigheydt en een aengename quickachtighe sachtigheydt hebben:

terms translations

[suggested translation, Marije Osnabrugge:] {What quick and edgy Drawing is.} Quick and Edgy drawing is, that one makes his shadows flat or even, either by Hatching or Rouseling; meaning that all the edges keep their definition of design against the light, and that one may clearly see what type of indeterminate Figure or shape such as shadow has in its Generality; However, not that its edges disappear in a dim smoke or undefined fuzziness, in which the angularity of its shape cannot be seen. {How to obtain this angularity.} To achieve this well, one should pay attention not to make the shadows too hard in the beginning. Moreover, not to place a shadow to darkly or strongly, or too vaguely [ndr: difficult terms to translate]; but always quickly cut yet little different in Color, to simultaneously have a perfect angularity and a pleasant softness:

Please consider that the different adjectives used by Goeree were difficult to translate into contemporary English. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {What quick and edgy Drawing is.} Quick and Edgy drawing is, that one makes his shadows flat or even, either by Hatching or Rouseling; meaning that all the edges keep their definition of design against the light, and that one may clearly see what type of indeterminate Figure or shape such as shadow has in its Generality; However, not that its edges disappear in a dim smoke or undefined fuzziness, in which the angularity of its shape cannot be seen. {How to obtain this angularity.} To achieve this well, one should pay attention not to make the shadows too hard in the beginning. Moreover, not to place a shadow to darkly or strongly, or too vaguely [ndr: difficult terms to translate]; but always quickly cut yet little different in Color, to simultaneously have a perfect angularity and a pleasant softness:

Please consider that the different adjectives used by Goeree were difficult to translate into contemporary English. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] {What quick and edgy Drawing is.} Quick and Edgy drawing is, that one makes his shadows flat or even, either by Hatching or Rouseling; meaning that all the edges keep their definition of design against the light, and that one may clearly see what type of indeterminate Figure or shape such as shadow has in its Generality; However, not that its edges disappear in a dim smoke or undefined fuzziness, in which the angularity of its shape cannot be seen. {How to obtain this angularity.} To achieve this well, one should pay attention not to make the shadows too hard in the beginning. Moreover, not to place a shadow to darkly or strongly, or too vaguely [ndr: difficult terms to translate]; but always quickly cut yet little different in Color, to simultaneously have a perfect angularity and a pleasant softness:

Please consider that the different adjectives used by Goeree were difficult to translate into contemporary English. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {What quick and edgy Drawing is.} Quick and Edgy drawing is, that one makes his shadows flat or even, either by Hatching or Rouseling; meaning that all the edges keep their definition of design against the light, and that one may clearly see what type of indeterminate Figure or shape such as shadow has in its Generality; However, not that its edges disappear in a dim smoke or undefined fuzziness, in which the angularity of its shape cannot be seen. {How to obtain this angularity.} To achieve this well, one should pay attention not to make the shadows too hard in the beginning. Moreover, not to place a shadow to darkly or strongly, or too vaguely [ndr: difficult terms to translate]; but always quickly cut yet little different in Color, to simultaneously have a perfect angularity and a pleasant softness:

Please consider that the different adjectives used by Goeree were difficult to translate into contemporary English. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] {What quick and edgy Drawing is.} Quick and Edgy drawing is, that one makes his shadows flat or even, either by Hatching or Rouseling; meaning that all the edges keep their definition of design against the light, and that one may clearly see what type of indeterminate Figure or shape such as shadow has in its Generality; However, not that its edges disappear in a dim smoke or undefined fuzziness, in which the angularity of its shape cannot be seen. {How to obtain this angularity.} To achieve this well, one should pay attention not to make the shadows too hard in the beginning. Moreover, not to place a shadow to darkly or strongly, or too vaguely [ndr: difficult terms to translate]; but always quickly cut yet little different in Color, to simultaneously have a perfect angularity and a pleasant softness:

Please consider that the different adjectives used by Goeree were difficult to translate into contemporary English. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] {What quick and edgy Drawing is.} Quick and Edgy drawing is, that one makes his shadows flat or even, either by Hatching or Rouseling; meaning that all the edges keep their definition of design against the light, and that one may clearly see what type of indeterminate Figure or shape such as shadow has in its Generality; However, not that its edges disappear in a dim smoke or undefined fuzziness, in which the angularity of its shape cannot be seen. {How to obtain this angularity.} To achieve this well, one should pay attention not to make the shadows too hard in the beginning. Moreover, not to place a shadow to darkly or strongly, or too vaguely [ndr: difficult terms to translate]; but always quickly cut yet little different in Color, to simultaneously have a perfect angularity and a pleasant softness:

Please consider that the different adjectives used by Goeree were difficult to translate into contemporary English. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {What quick and edgy Drawing is.} Quick and Edgy drawing is, that one makes his shadows flat or even, either by Hatching or Rouseling; meaning that all the edges keep their definition of design against the light, and that one may clearly see what type of indeterminate Figure or shape such as shadow has in its Generality; However, not that its edges disappear in a dim smoke or undefined fuzziness, in which the angularity of its shape cannot be seen. {How to obtain this angularity.} To achieve this well, one should pay attention not to make the shadows too hard in the beginning. Moreover, not to place a shadow to darkly or strongly, or too vaguely [ndr: difficult terms to translate]; but always quickly cut yet little different in Color, to simultaneously have a perfect angularity and a pleasant softness:

Please consider that the different adjectives used by Goeree were difficult to translate into contemporary English. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {What quick and edgy Drawing is.} Quick and Edgy drawing is, that one makes his shadows flat or even, either by Hatching or Rouseling; meaning that all the edges keep their definition of design against the light, and that one may clearly see what type of indeterminate Figure or shape such as shadow has in its Generality; However, not that its edges disappear in a dim smoke or undefined fuzziness, in which the angularity of its shape cannot be seen. {How to obtain this angularity.} To achieve this well, one should pay attention not to make the shadows too hard in the beginning. Moreover, not to place a shadow to darkly or strongly, or too vaguely [ndr: difficult terms to translate]; but always quickly cut yet little different in Color, to simultaneously have a perfect angularity and a pleasant softness:

Please consider that the different adjectives used by Goeree were difficult to translate into contemporary English. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière

{Hoemen de vlackheyt moet bekomen.} Daer-en-boven soo sal u dese manniere een seer goede wegh banen tot de vlackigheyt, en observatie van schoone dagen en eenparige groote schaduwen. Dese wort door de manniere van kantigheydt verkregen, soo wanneer datmen groote en generale donckerheden en lichten maeckt, sonder die door eenige andere dingen die daer in komen mochten, ofte door de snelligheyt te verbreecken, en te bederven; (…) en dit moetmen generaelijck soo in Naeckten, Kleedingen als andere Lichamen observeeren, die sonder daer op acht te geven lichtelijck konnen bedorven worden.

terms translations

[suggested translation, Marije Osnabrugge:] {How to achieve flatness.} In addition this manner will lead you the way towards the flatness, and the observation of beautiful lights and evenly large shadows. These are obtained through the manner of angularity, when one makes large and general darkness and lights, without interrupting or spoiling it by any other things that may occur in it or by the quickness [ndr: problematic translation]; (…) and this should generally be observed both in the Nudes, Drapery and other bodies, which could easily be spoiled if one fails to pay attention to it.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {How to achieve flatness.} In addition this manner will lead you the way towards the flatness, and the observation of beautiful lights and evenly large shadows. These are obtained through the manner of angularity, when one makes large and general darkness and lights, without interrupting or spoiling it by any other things that may occur in it or by the quickness [ndr: problematic translation]; (…) and this should generally be observed both in the Nudes, Drapery and other bodies, which could easily be spoiled if one fails to pay attention to it.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {How to achieve flatness.} In addition this manner will lead you the way towards the flatness, and the observation of beautiful lights and evenly large shadows. These are obtained through the manner of angularity, when one makes large and general darkness and lights, without interrupting or spoiling it by any other things that may occur in it or by the quickness [ndr: problematic translation]; (…) and this should generally be observed both in the Nudes, Drapery and other bodies, which could easily be spoiled if one fails to pay attention to it.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis
terms translations

[suggested translation, Marije Osnabrugge:] {How to achieve flatness.} In addition this manner will lead you the way towards the flatness, and the observation of beautiful lights and evenly large shadows. These are obtained through the manner of angularity, when one makes large and general darkness and lights, without interrupting or spoiling it by any other things that may occur in it or by the quickness [ndr: problematic translation]; (…) and this should generally be observed both in the Nudes, Drapery and other bodies, which could easily be spoiled if one fails to pay attention to it.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
terms translations

[suggested translation, Marije Osnabrugge:] {How to achieve flatness.} In addition this manner will lead you the way towards the flatness, and the observation of beautiful lights and evenly large shadows. These are obtained through the manner of angularity, when one makes large and general darkness and lights, without interrupting or spoiling it by any other things that may occur in it or by the quickness [ndr: problematic translation]; (…) and this should generally be observed both in the Nudes, Drapery and other bodies, which could easily be spoiled if one fails to pay attention to it.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {How to achieve flatness.} In addition this manner will lead you the way towards the flatness, and the observation of beautiful lights and evenly large shadows. These are obtained through the manner of angularity, when one makes large and general darkness and lights, without interrupting or spoiling it by any other things that may occur in it or by the quickness [ndr: problematic translation]; (…) and this should generally be observed both in the Nudes, Drapery and other bodies, which could easily be spoiled if one fails to pay attention to it.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
EFFET PICTURAL → qualité de la lumière

{Kantigh Teykenen en dommeligh Teykenen beyde een gebreck onderworpen.} Het kantigh Teyckenen, ende het sacht Teyckenen, is inden beginne, beyde een gebreck onderworpen: door het al te sacht of dommeligh Teyckenen, vervaltmen seer licht in voosigheydt; en door het snel en kantigh Teyckenen in stijvigheydt: Maer om van twee quaden ’t beste te kiesen, sal ’t nochtans beter sijn het vlack en snel Teyckenen, al isset schoon een weynigh na den stijven aert, als datmen om saght en mals te Teyckenen in een Kinderachtige manniere van voosigheydt gheraeckt: Want de stijvigheydt kan door dat middel alreede aengewesen is, in ’t korte wel overwonnen werden.

terms translations

[suggested translation, Marije Osnabrugge:] {Edgy Drawing and fuzzy Drawing are both subject to a flaw.} The edgy Drawing and the soft Drawing, are in principal both subject to a flaw: by drawing to softly or fuzzily, one easily lapses into fuzziness; and by Drawing quickly and edgily into stiffness: But to choose the best out of two evils, it would be better to draw flat and quick, even though it is a little bit too stiff, than to arrive at a childish manner of fuzziness by drawing softly and tenderly: Because the stiffness may be defeated by the method which has already been pointed out.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
EFFET PICTURAL → qualité du dessin
terms translations

[suggested translation, Marije Osnabrugge:] {Edgy Drawing and fuzzy Drawing are both subject to a flaw.} The edgy Drawing and the soft Drawing, are in principal both subject to a flaw: by drawing to softly or fuzzily, one easily lapses into fuzziness; and by Drawing quickly and edgily into stiffness: But to choose the best out of two evils, it would be better to draw flat and quick, even though it is a little bit too stiff, than to arrive at a childish manner of fuzziness by drawing softly and tenderly: Because the stiffness may be defeated by the method which has already been pointed out.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
EFFET PICTURAL → qualité du dessin
terms translations

[suggested translation, Marije Osnabrugge:] {Edgy Drawing and fuzzy Drawing are both subject to a flaw.} The edgy Drawing and the soft Drawing, are in principal both subject to a flaw: by drawing to softly or fuzzily, one easily lapses into fuzziness; and by Drawing quickly and edgily into stiffness: But to choose the best out of two evils, it would be better to draw flat and quick, even though it is a little bit too stiff, than to arrive at a childish manner of fuzziness by drawing softly and tenderly: Because the stiffness may be defeated by the method which has already been pointed out.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
EFFET PICTURAL → qualité du dessin
terms translations

[suggested translation, Marije Osnabrugge:] {Edgy Drawing and fuzzy Drawing are both subject to a flaw.} The edgy Drawing and the soft Drawing, are in principal both subject to a flaw: by drawing to softly or fuzzily, one easily lapses into fuzziness; and by Drawing quickly and edgily into stiffness: But to choose the best out of two evils, it would be better to draw flat and quick, even though it is a little bit too stiff, than to arrive at a childish manner of fuzziness by drawing softly and tenderly: Because the stiffness may be defeated by the method which has already been pointed out.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] {Edgy Drawing and fuzzy Drawing are both subject to a flaw.} The edgy Drawing and the soft Drawing, are in principal both subject to a flaw: by drawing to softly or fuzzily, one easily lapses into fuzziness; and by Drawing quickly and edgily into stiffness: But to choose the best out of two evils, it would be better to draw flat and quick, even though it is a little bit too stiff, than to arrive at a childish manner of fuzziness by drawing softly and tenderly: Because the stiffness may be defeated by the method which has already been pointed out.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
EFFET PICTURAL → qualité du dessin
terms translations

[suggested translation, Marije Osnabrugge:] {Edgy Drawing and fuzzy Drawing are both subject to a flaw.} The edgy Drawing and the soft Drawing, are in principal both subject to a flaw: by drawing to softly or fuzzily, one easily lapses into fuzziness; and by Drawing quickly and edgily into stiffness: But to choose the best out of two evils, it would be better to draw flat and quick, even though it is a little bit too stiff, than to arrive at a childish manner of fuzziness by drawing softly and tenderly: Because the stiffness may be defeated by the method which has already been pointed out.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
EFFET PICTURAL → qualité du dessin

{Nader opmercking over de schaduwen.} Maer eer wy gheheelijck hier van afscheyden, soo dient noch aengemerckt datmen in het observeeren deser vlacke schaduwen, moet weten, dat alle vlacke schaduwen niet op een ende deselve wijse, kantigh en vlack zijn; des soo dient in ’t algemeen dit wel in acht genomen, dat de ronde Lichamen en oock sommige andere, haer eygen schaduwen voortbrenghen, om dieswil datse door het omdrayen ’t Licht ontbeeren moeten, en daer door doncker worden. Dese schaduwen en moeten soo snel en kantigh niet wesen, als wel de schaduwen die van eenigh ander Lichaem werden voortgebracht;

terms translations

[suggested translation, Marije Osnabrugge:] {A further remark about the shadows.} But before we leave this all behind, it needs to be noticed that one should know, in observing these flat shadows, that all flat shadows are not edgy and flat in the same way; as such it needs to be taken into account that the round Bodies as well as some others, produce their own shadows, because by moving they have to do without the Light, and become dark because of it. These shadows should not be that quick and edgy, as the shadows that are produced by any other Body;

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {A further remark about the shadows.} But before we leave this all behind, it needs to be noticed that one should know, in observing these flat shadows, that all flat shadows are not edgy and flat in the same way; as such it needs to be taken into account that the round Bodies as well as some others, produce their own shadows, because by moving they have to do without the Light, and become dark because of it. These shadows should not be that quick and edgy, as the shadows that are produced by any other Body;

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {A further remark about the shadows.} But before we leave this all behind, it needs to be noticed that one should know, in observing these flat shadows, that all flat shadows are not edgy and flat in the same way; as such it needs to be taken into account that the round Bodies as well as some others, produce their own shadows, because by moving they have to do without the Light, and become dark because of it. These shadows should not be that quick and edgy, as the shadows that are produced by any other Body;

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière

{Dat door de vlacke schaduwen vry wat goets wort voortgebracht.} Daer mach vry gelooft worden dat dese vlacke en snelle manniere van schaduwen, over al, en altijdt, als een onfeylbaren Gront-regel, een uytnemende Welstandt, Macht en lichamelijckheydt in uwe dinghen voortbrenght, waer doorse playsant voor het ooghe volkomender na ’t leven als eenighe manniere, en verstandigh na de Konst-regelen, sich wonderlijck welsullen komen uyt te heffen:

terms translations

[suggested translation, Marije Osnabrugge:] {That a lot of good things are caused by flat shadows.} It may be believed that this flat and quick manner of shading, everywhere and always, as an infallible Principle, causes an excellent Harmony, Force and corporeality in your things, through which they will wonderfully distinguish themselves as pleasing to the eye, more perfect after the life than any other manner, and wisely after the rules of Art.

This section is not included in the English translation. [MO]

konst-regel

Conceptual field(s)

L’ARTISTE → règles et préceptes
terms translations

[suggested translation, Marije Osnabrugge:] {That a lot of good things are caused by flat shadows.} It may be believed that this flat and quick manner of shading, everywhere and always, as an infallible Principle, causes an excellent Harmony, Force and corporeality in your things, through which they will wonderfully distinguish themselves as pleasing to the eye, more perfect after the life than any other manner, and wisely after the rules of Art.

This section is not included in the English translation. [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] {That a lot of good things are caused by flat shadows.} It may be believed that this flat and quick manner of shading, everywhere and always, as an infallible Principle, causes an excellent Harmony, Force and corporeality in your things, through which they will wonderfully distinguish themselves as pleasing to the eye, more perfect after the life than any other manner, and wisely after the rules of Art.

This section is not included in the English translation. [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → grandeur et noblesse
terms translations

[suggested translation, Marije Osnabrugge:] {That a lot of good things are caused by flat shadows.} It may be believed that this flat and quick manner of shading, everywhere and always, as an infallible Principle, causes an excellent Harmony, Force and corporeality in your things, through which they will wonderfully distinguish themselves as pleasing to the eye, more perfect after the life than any other manner, and wisely after the rules of Art.

This section is not included in the English translation. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {That a lot of good things are caused by flat shadows.} It may be believed that this flat and quick manner of shading, everywhere and always, as an infallible Principle, causes an excellent Harmony, Force and corporeality in your things, through which they will wonderfully distinguish themselves as pleasing to the eye, more perfect after the life than any other manner, and wisely after the rules of Art.

This section is not included in the English translation. [MO]

Conceptual field(s)

{Wat de Hooghsels zijn.} Want die geen breet verhael van nooden hebben, alsoo daer weynighe inde Teycken-Konst yets gedaen hebben, of sullen ten minsten weten dat de Hooghsels dat gene zijn, welcke de uytserste verheventheyt vertoont, ende vanden stercksten dagh beschenen wort, en datse haer somwijlen in, en omtrent den vlacken dagh laten vinden, ofte oock wel in andere Parthyen die door haer verheventheydt licht vatten, ofte door een stercker licht verlicht zijnde, de Meester willen speelen, en uytsteecken; Welcke Hooghsels wanneermen op Wit Papier Teyckent, werden uytgespaert, latende voor het uyterste licht het Wit Papier, wantmen niet hooger en kan; de rest wert alles met behoorlijcke schaduwen verkregen. Maer op de Gront-Papieren, daer ghebruycktmen de Witte Cryons, tot de sterckste Lichten en snelle Hooghsels, schickende die na de hoedanigheydt van minder of meerder licht, op sijne juste plaets, welcke Oeffeninge een bysonder groot vermogen in dese manniere van Teyckenen heeft, waerom daer op goede acht diende gegeven te worden.

terms translations

[suggested translation, Marije Osnabrugge:] {What the highlights are.} Because they do not need a long story, as few who have done something in the Art of Drawing or they would at least know that the highlights are that, which shows the highest elevation, and is shone by the strongest light, and that they can sometimes be found in and around the flat light, or also in other parts that are lit by her elevation, or are lit by a stronger light, wanting to play the Master and stand out; These Highlights, when drawing on White Paper, are saved out, leaving the white paper for the strongest light, as there is no way to go higher; the rest is all obtained with sufficient shadows. But on the Grounded Paper one uses White Crayons for the strongest lights and quick Highlights, shaping them after the level of more or less light, at its right place, the Practice of which has a very great power in this manner of Drawing, which is why one should pay close attention.

licht

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {What the highlights are.} Because they do not need a long story, as few who have done something in the Art of Drawing or they would at least know that the highlights are that, which shows the highest elevation, and is shone by the strongest light, and that they can sometimes be found in and around the flat light, or also in other parts that are lit by her elevation, or are lit by a stronger light, wanting to play the Master and stand out; These Highlights, when drawing on White Paper, are saved out, leaving the white paper for the strongest light, as there is no way to go higher; the rest is all obtained with sufficient shadows. But on the Grounded Paper one uses White Crayons for the strongest lights and quick Highlights, shaping them after the level of more or less light, at its right place, the Practice of which has a very great power in this manner of Drawing, which is why one should pay close attention.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] {What the highlights are.} Because they do not need a long story, as few who have done something in the Art of Drawing or they would at least know that the highlights are that, which shows the highest elevation, and is shone by the strongest light, and that they can sometimes be found in and around the flat light, or also in other parts that are lit by her elevation, or are lit by a stronger light, wanting to play the Master and stand out; These Highlights, when drawing on White Paper, are saved out, leaving the white paper for the strongest light, as there is no way to go higher; the rest is all obtained with sufficient shadows. But on the Grounded Paper one uses White Crayons for the strongest lights and quick Highlights, shaping them after the level of more or less light, at its right place, the Practice of which has a very great power in this manner of Drawing, which is why one should pay close attention.

dagh

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {What the highlights are.} Because they do not need a long story, as few who have done something in the Art of Drawing or they would at least know that the highlights are that, which shows the highest elevation, and is shone by the strongest light, and that they can sometimes be found in and around the flat light, or also in other parts that are lit by her elevation, or are lit by a stronger light, wanting to play the Master and stand out; These Highlights, when drawing on White Paper, are saved out, leaving the white paper for the strongest light, as there is no way to go higher; the rest is all obtained with sufficient shadows. But on the Grounded Paper one uses White Crayons for the strongest lights and quick Highlights, shaping them after the level of more or less light, at its right place, the Practice of which has a very great power in this manner of Drawing, which is why one should pay close attention.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] {What the highlights are.} Because they do not need a long story, as few who have done something in the Art of Drawing or they would at least know that the highlights are that, which shows the highest elevation, and is shone by the strongest light, and that they can sometimes be found in and around the flat light, or also in other parts that are lit by her elevation, or are lit by a stronger light, wanting to play the Master and stand out; These Highlights, when drawing on White Paper, are saved out, leaving the white paper for the strongest light, as there is no way to go higher; the rest is all obtained with sufficient shadows. But on the Grounded Paper one uses White Crayons for the strongest lights and quick Highlights, shaping them after the level of more or less light, at its right place, the Practice of which has a very great power in this manner of Drawing, which is why one should pay close attention.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
EFFET PICTURAL → qualité de la lumière

{Waer op datmen inde Hooghsels voornamentlijck letten sal.} In haer gebruyck salmen dan voor eerst wel letten datmen niet op te veel plaetsen en hooge; maer eerst en voor al daer een Beeldt gansch inden alghemeenen dagh komt; d’ander Lichten moetmen uytstellen tot op ’t laetst: de verlichte party moetmen wat saghtelijck en eenparigh Hoogen, invoeghen datmen daer na noch andere stercke en voornaemste Hooghsels daer op setten soude konnen, en evenwel de algemeenen vlacken dagh behouden. Ten tweeden, datmen niet te sterck en Hooge, Ten derden, datmen die oock niet te na aen het Bruyn ofte Schaduwe, noch oock aen eenighe omtreck en set, ten sy in eenigh bysonder voorval van eenighe schitter of snel lichten, &c. om dieswil dat die andersins hart en stijf schijnen. Ten vierden, datmen de Hooghsels wel snel en kantigh maeckt, doch noyt daer veel ghehooght moet worden, het sterckste Licht op de kant, maer altijt een weynigh vande kanten af, om alsoo beter rondinghe te krijgen. Ten vijfden, draeght wel sorge om bequaeme grondt des Papiers tusschen u Hooghsels en Schaduwe te laten blijven;

terms translations

[suggested translation, Marije Osnabrugge:] {What to mainly pay attention to, concerning the Highlights.} In its use one should foremost pay attention that one does not heighten on too many places; but especially there where a Figure comes into the common light; the other Lights should be postponed until last: the lighted part should be heightened softly and evenly – it may be added that one could place other strong and principle Highlights on it – and as such preserve the common flat light. Secondly, not to Heighten too strongly, Thirdly, not to place them too close to the Dark or Shadow nor to a contour, unless in the special case of some glittering or quick lights, etc. , because otherwise they will appear hard and stiff. Fourthly, to make the Highlights indeed quick and edgy, yet never in case a lot of heightening is necessary, [ndr.: placing] the light on the edge, but always a little bit away from the edge, to get a better rounding. Fifthly, make sure to leave an adequate ground of the paper between your Highlights and Shadow;

schaduwe

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] {What to mainly pay attention to, concerning the Highlights.} In its use one should foremost pay attention that one does not heighten on too many places; but especially there where a Figure comes into the common light; the other Lights should be postponed until last: the lighted part should be heightened softly and evenly – it may be added that one could place other strong and principle Highlights on it – and as such preserve the common flat light. Secondly, not to Heighten too strongly, Thirdly, not to place them too close to the Dark or Shadow nor to a contour, unless in the special case of some glittering or quick lights, etc. , because otherwise they will appear hard and stiff. Fourthly, to make the Highlights indeed quick and edgy, yet never in case a lot of heightening is necessary, [ndr.: placing] the light on the edge, but always a little bit away from the edge, to get a better rounding. Fifthly, make sure to leave an adequate ground of the paper between your Highlights and Shadow;

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] {What to mainly pay attention to, concerning the Highlights.} In its use one should foremost pay attention that one does not heighten on too many places; but especially there where a Figure comes into the common light; the other Lights should be postponed until last: the lighted part should be heightened softly and evenly – it may be added that one could place other strong and principle Highlights on it – and as such preserve the common flat light. Secondly, not to Heighten too strongly, Thirdly, not to place them too close to the Dark or Shadow nor to a contour, unless in the special case of some glittering or quick lights, etc. , because otherwise they will appear hard and stiff. Fourthly, to make the Highlights indeed quick and edgy, yet never in case a lot of heightening is necessary, [ndr.: placing] the light on the edge, but always a little bit away from the edge, to get a better rounding. Fifthly, make sure to leave an adequate ground of the paper between your Highlights and Shadow;

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] {What to mainly pay attention to, concerning the Highlights.} In its use one should foremost pay attention that one does not heighten on too many places; but especially there where a Figure comes into the common light; the other Lights should be postponed until last: the lighted part should be heightened softly and evenly – it may be added that one could place other strong and principle Highlights on it – and as such preserve the common flat light. Secondly, not to Heighten too strongly, Thirdly, not to place them too close to the Dark or Shadow nor to a contour, unless in the special case of some glittering or quick lights, etc. , because otherwise they will appear hard and stiff. Fourthly, to make the Highlights indeed quick and edgy, yet never in case a lot of heightening is necessary, [ndr.: placing] the light on the edge, but always a little bit away from the edge, to get a better rounding. Fifthly, make sure to leave an adequate ground of the paper between your Highlights and Shadow;

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] {What to mainly pay attention to, concerning the Highlights.} In its use one should foremost pay attention that one does not heighten on too many places; but especially there where a Figure comes into the common light; the other Lights should be postponed until last: the lighted part should be heightened softly and evenly – it may be added that one could place other strong and principle Highlights on it – and as such preserve the common flat light. Secondly, not to Heighten too strongly, Thirdly, not to place them too close to the Dark or Shadow nor to a contour, unless in the special case of some glittering or quick lights, etc. , because otherwise they will appear hard and stiff. Fourthly, to make the Highlights indeed quick and edgy, yet never in case a lot of heightening is necessary, [ndr.: placing] the light on the edge, but always a little bit away from the edge, to get a better rounding. Fifthly, make sure to leave an adequate ground of the paper between your Highlights and Shadow;

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] {What to mainly pay attention to, concerning the Highlights.} In its use one should foremost pay attention that one does not heighten on too many places; but especially there where a Figure comes into the common light; the other Lights should be postponed until last: the lighted part should be heightened softly and evenly – it may be added that one could place other strong and principle Highlights on it – and as such preserve the common flat light. Secondly, not to Heighten too strongly, Thirdly, not to place them too close to the Dark or Shadow nor to a contour, unless in the special case of some glittering or quick lights, etc. , because otherwise they will appear hard and stiff. Fourthly, to make the Highlights indeed quick and edgy, yet never in case a lot of heightening is necessary, [ndr.: placing] the light on the edge, but always a little bit away from the edge, to get a better rounding. Fifthly, make sure to leave an adequate ground of the paper between your Highlights and Shadow;

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {What to mainly pay attention to, concerning the Highlights.} In its use one should foremost pay attention that one does not heighten on too many places; but especially there where a Figure comes into the common light; the other Lights should be postponed until last: the lighted part should be heightened softly and evenly – it may be added that one could place other strong and principle Highlights on it – and as such preserve the common flat light. Secondly, not to Heighten too strongly, Thirdly, not to place them too close to the Dark or Shadow nor to a contour, unless in the special case of some glittering or quick lights, etc. , because otherwise they will appear hard and stiff. Fourthly, to make the Highlights indeed quick and edgy, yet never in case a lot of heightening is necessary, [ndr.: placing] the light on the edge, but always a little bit away from the edge, to get a better rounding. Fifthly, make sure to leave an adequate ground of the paper between your Highlights and Shadow;

bruyn

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière

{Waer de Reflexien meest vallen.} Gelijck die haer somtijtds en na ghelegentheydt des Wercks inde Schaduwen, en op de kanten van sommighe, doch meest op ronde Lichamen, laten sien; insonderheydt op sulcke, dewelcke veel effender, gladder en blinckender zijn, als dat dinck is, van welck het Licht veroorsaeckt wort; en dit noemtmen Reflexien. {Hoe de Reflexien worden voortgebracht.} Sy komt in ’t gemeen daer uyt voort, dat als de boven vlackte van eenigh Lichaem met Licht gheslagen wort, alsdan ghelijck de Weersteuyt van eenen Bol met sijn Licht te rug springt, en Reflexseert op het naest beschaduwe Lichaem dat teghen over hem is; gelijck wy de verscheyde werckingen en Bewijs-reden daer van, in ons laetste Boecken sullen voortbrengen.
En al-hoe-wel dit in het Teyckenen een welstandt geeft, vermits het oock in ’t leven gesien wort, so salmen hem seer voorsichtigh dragen om deselve niet al te veel te ghebruycken; Want daer door een Coperachtige Blinckentheydt veroorsaeckt wort, dat by na als Glas doorschijnigh is. {Men moet geen onnodige Reflexien maken.} En hierom moetmen (het zy dan datmen na Playster ofte het leven Teyckent,) altijdt acht geven dat de reden van u doen daer in kan gevonden worden; dat is, dat de oorsaeck vande meer of minder Reflexien, of geen Reflexie, volkomentlijck kan gesien worden.

terms translations

[suggested translation, Marije Osnabrugge:] {Where the Reflections mostly occur.} Like those who sometimes show them according to the circumstances of the Work in the Shadows, and on the edge of some, but mostly on the round Bodies; especially on those, which are much more even, smooth and shining, than the thing by which the Light is caused; and this is called Reflections. {How the Reflections are made.} In general they occur when the upper part of any Body is touched by Light, like a reverberation bounces back from a Ball with its light, and reflects on the closest shadowed Body that is opposite; like we will discuss the different effects and Proof of it in our last Book. And although this provides a harmony in the Drawing, as it is also seen in the life, one will use it very carefully not to use it too often; because it causes a Coppery Glittering, almost transparent like glass. {One should not make unnecessary Reflections.} And therefore one should (whether one draws after Plaster or life,) always pay attention that the reason for your action can be discerned; that is, that the origin of many or few Reflections, or lack of Reflection, can be seen completely.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
EFFET PICTURAL → qualité du dessin
EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Where the Reflections mostly occur.} Like those who sometimes show them according to the circumstances of the Work in the Shadows, and on the edge of some, but mostly on the round Bodies; especially on those, which are much more even, smooth and shining, than the thing by which the Light is caused; and this is called Reflections. {How the Reflections are made.} In general they occur when the upper part of any Body is touched by Light, like a reverberation bounces back from a Ball with its light, and reflects on the closest shadowed Body that is opposite; like we will discuss the different effects and Proof of it in our last Book. And although this provides a harmony in the Drawing, as it is also seen in the life, one will use it very carefully not to use it too often; because it causes a Coppery Glittering, almost transparent like glass. {One should not make unnecessary Reflections.} And therefore one should (whether one draws after Plaster or life,) always pay attention that the reason for your action can be discerned; that is, that the origin of many or few Reflections, or lack of Reflection, can be seen completely.

Conceptual field(s)

{Wat Houdinge is.} Houdinghe dan om den sin van het woort ende de kracht van hare ware eygenschap uyt te drucken, is dat ghene, ’t welck alles wat in een Teyckeningh ofte Schilderye komt, doet achter, en voor uytwijcken, en van het voorste tot het middelste, en achterste, alles op sijn plaets doet staen; invoeghen dat yeder dingh sijn eygen stant-plaets, soo van behoorlijcke Groote en Coleur, als Licht en Schaduwe komt te behouden, en datmen de wijtheidt van de plaets die tusschen yeder Beeldt of Lichaem open en ledigh is, wijckende ofte na sich toekomende natuerlijck met de Oogh, als of het met de Voeten toeganckelijck waere, kan na-speuren, dat hem yder dingh op sijn eygene plaets bevindt; daerom sy dan Houdinghe genoemt wert.

terms translations

[suggested translation, Marije Osnabrugge:] {What Harmony is.} To express the meaning of the word and the power of her true characteristic, is that which makes everything that occurs in a Drawing or Painting go backwards or come forwards, and puts everything in its place – from the closest to the middle and the back; it may be added that everything keeps to its own position, both of good Size and Color and Light and Shadow, and that one can naturally discern the size of the space that is left open and empty between each Figure or Body, moving away or coming forward, with the Eye, as if it were with one’s feet, that everything is on its proper place; which is why it is called Harmony.

The translator who worked on the English translation clearly had difficulty finding a translation for the Dutch term ‘houding’. We have chosen for Harmony to translate the term. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
EFFET PICTURAL → perspective
EFFET PICTURAL → qualité de la composition
EFFET PICTURAL → qualité de la lumière

{Middel om in ’t algemeen Houdinge te bekomen.} In het Teyckenen soo moetmen letten, datmen in ’t verminderen van doncker en Licht, ontrent de Lichamene die wijckende achter malkander volgen, soodanigen verschil maeckt, alshier is tusschen het flauwste Hooghsel en het Coleur van u Gront-Papier, daermen in ’t ghemeen met de witte Cryon op Teyckent; invoegen dat het t’elckens een Tint, of kenbaer Coleur van verschil, komt te verminderen; even gelijckmen seyt het scheelt een kennis, &c. Soo sult ghy een groote Reddinge, wijckinghe, uytheffingh en houdinghe in uwe Teyckeningh bekomen, en bevrijt zijn dat uwe dingen niet aen malkander vast en sullen sitten; {Dat het Licht in alle voorwerpen die wij sien, altijt een behoorlijcke Houdinge schickt, waer door wy die uyt elkanderen onderscheyden.} maer in allen de natuere volgen, die haer licht altijt soodanigh op de voorwerpen weet te schicken en te bepalen, dat de donckere sijde van een Lichaem altoos tegen de verlichte zijde van een ander, komt af te wijcken, en een verlichte Party teghen een beschaduwde, ofte die het licht komt te ontbeeren:

terms translations

[suggested translation, Marije Osnabrugge:] {Means to acquire Harmony in general.) In Drawing one should pay attention, to make such a distinction in the diminution of dark and light, for the vanishing Bodies that are following each other, as exists between the weakest Highlight and the Colour of your grounded Paper, on which one generally draws with white Crayon; and that it always diminishes one Tint or a different Colour; just as it is said ‘it differs a little bit’ etc. . As such you will obtain a great reddering [ndr: referring to the placement of colours], contrast, exaltation and harmony in your Drawing, and avoid that your things are stuck together; {That the Light, in all objects that we see, always shapes a good Harmony, so that we can discern them from each other.} but follow nature in everything, as she always manages to place and shape her light on the objects in such a manner, that the dark side of a Body contrasts with the light side of another, and a lit Part against a shadowed or one that is void of light:

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Means to acquire Harmony in general.) In Drawing one should pay attention, to make such a distinction in the diminution of dark and light, for the vanishing Bodies that are following each other, as exists between the weakest Highlight and the Colour of your grounded Paper, on which one generally draws with white Crayon; and that it always diminishes one Tint or a different Colour; just as it is said ‘it differs a little bit’ etc. . As such you will obtain a great reddering [ndr: referring to the placement of colours], contrast, exaltation and harmony in your Drawing, and avoid that your things are stuck together; {That the Light, in all objects that we see, always shapes a good Harmony, so that we can discern them from each other.} but follow nature in everything, as she always manages to place and shape her light on the objects in such a manner, that the dark side of a Body contrasts with the light side of another, and a lit Part against a shadowed or one that is void of light:

In the English translation, this term is translated as 'coming forward'. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Means to acquire Harmony in general.) In Drawing one should pay attention, to make such a distinction in the diminution of dark and light, for the vanishing Bodies that are following each other, as exists between the weakest Highlight and the Colour of your grounded Paper, on which one generally draws with white Crayon; and that it always diminishes one Tint or a different Colour; just as it is said ‘it differs a little bit’ etc. . As such you will obtain a great reddering [ndr: referring to the placement of colours], contrast, exaltation and harmony in your Drawing, and avoid that your things are stuck together; {That the Light, in all objects that we see, always shapes a good Harmony, so that we can discern them from each other.} but follow nature in everything, as she always manages to place and shape her light on the objects in such a manner, that the dark side of a Body contrasts with the light side of another, and a lit Part against a shadowed or one that is void of light:

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Means to acquire Harmony in general.) In Drawing one should pay attention, to make such a distinction in the diminution of dark and light, for the vanishing Bodies that are following each other, as exists between the weakest Highlight and the Colour of your grounded Paper, on which one generally draws with white Crayon; and that it always diminishes one Tint or a different Colour; just as it is said ‘it differs a little bit’ etc. . As such you will obtain a great reddering [ndr: referring to the placement of colours], contrast, exaltation and harmony in your Drawing, and avoid that your things are stuck together; {That the Light, in all objects that we see, always shapes a good Harmony, so that we can discern them from each other.} but follow nature in everything, as she always manages to place and shape her light on the objects in such a manner, that the dark side of a Body contrasts with the light side of another, and a lit Part against a shadowed or one that is void of light:

In the English translation, this term is translated as 'coming forward'. [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] {Means to acquire Harmony in general.) In Drawing one should pay attention, to make such a distinction in the diminution of dark and light, for the vanishing Bodies that are following each other, as exists between the weakest Highlight and the Colour of your grounded Paper, on which one generally draws with white Crayon; and that it always diminishes one Tint or a different Colour; just as it is said ‘it differs a little bit’ etc. . As such you will obtain a great reddering [ndr: referring to the placement of colours], contrast, exaltation and harmony in your Drawing, and avoid that your things are stuck together; {That the Light, in all objects that we see, always shapes a good Harmony, so that we can discern them from each other.} but follow nature in everything, as she always manages to place and shape her light on the objects in such a manner, that the dark side of a Body contrasts with the light side of another, and a lit Part against a shadowed or one that is void of light:

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Means to acquire Harmony in general.) In Drawing one should pay attention, to make such a distinction in the diminution of dark and light, for the vanishing Bodies that are following each other, as exists between the weakest Highlight and the Colour of your grounded Paper, on which one generally draws with white Crayon; and that it always diminishes one Tint or a different Colour; just as it is said ‘it differs a little bit’ etc. . As such you will obtain a great reddering [ndr: referring to the placement of colours], contrast, exaltation and harmony in your Drawing, and avoid that your things are stuck together; {That the Light, in all objects that we see, always shapes a good Harmony, so that we can discern them from each other.} but follow nature in everything, as she always manages to place and shape her light on the objects in such a manner, that the dark side of a Body contrasts with the light side of another, and a lit Part against a shadowed or one that is void of light:

In the English translation, this term is translated as 'coming forward'. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Means to acquire Harmony in general.) In Drawing one should pay attention, to make such a distinction in the diminution of dark and light, for the vanishing Bodies that are following each other, as exists between the weakest Highlight and the Colour of your grounded Paper, on which one generally draws with white Crayon; and that it always diminishes one Tint or a different Colour; just as it is said ‘it differs a little bit’ etc. . As such you will obtain a great reddering [ndr: referring to the placement of colours], contrast, exaltation and harmony in your Drawing, and avoid that your things are stuck together; {That the Light, in all objects that we see, always shapes a good Harmony, so that we can discern them from each other.} but follow nature in everything, as she always manages to place and shape her light on the objects in such a manner, that the dark side of a Body contrasts with the light side of another, and a lit Part against a shadowed or one that is void of light:

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] {Means to acquire Harmony in general.) In Drawing one should pay attention, to make such a distinction in the diminution of dark and light, for the vanishing Bodies that are following each other, as exists between the weakest Highlight and the Colour of your grounded Paper, on which one generally draws with white Crayon; and that it always diminishes one Tint or a different Colour; just as it is said ‘it differs a little bit’ etc. . As such you will obtain a great reddering [ndr: referring to the placement of colours], contrast, exaltation and harmony in your Drawing, and avoid that your things are stuck together; {That the Light, in all objects that we see, always shapes a good Harmony, so that we can discern them from each other.} but follow nature in everything, as she always manages to place and shape her light on the objects in such a manner, that the dark side of a Body contrasts with the light side of another, and a lit Part against a shadowed or one that is void of light:

In the English translation, this term is described as 'going backward'. [MO]

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière

{Hoemen hem in ’t Schetsen en nader opstellen sal dragen.} En dat eerstelijck vande Schets, met het welck gy oock eerstelijck uwe dingen, het zy in wat manniere van Teyckeningh, Geestigh, Luchtigh, doch verstandelijck moet beworpen, en daer na met opmerckingh, volgens ’t gene wy daer van hebben aengewesen, deselve Corrigeeren en in ’t net stellen, alsins sich gewennende de voornaemste Schaduwtjens en Douwtjens met de Kool, in ’t nader op-stellen Meesterachtigh aen te wijsen, op dat ghy U vande stellinghe beter soud’ moghen verseeckeren: (…) {Vande ommetreck.} Na welke men moet beginnen Om-te trecken, en daer in voor al wel acht gheven op de Eeligheydt van de ommetrecken, om die ter rechter plaets te schicken met bewaringh van Parthyen;

terms translations

[suggested translation, Marije Osnabrugge:] {How one should behave in Sketching and further composing.} And first about the Sketch, with which you also firstly should design your things, in which manner of Drawing, Spirited, Loose, yet wisely, and afterwards with observation, following that which we have said about it, correct it and compose it neatly [ndr: in a finalized form], making a habit out of pointing out masterfully the main Shadows and mouvements [ndr: uncertain translation!] with Charcoal, in the improved composition, in order to better determine the composition: (…) {About the contour.} After which one should start to make the contours, therein paying utmost attention to the Nobility of the contours, to place them at the right spot in line with the Parts;

Conceptual field(s)

CONCEPTS ESTHETIQUES → grandeur et noblesse
EFFET PICTURAL → qualité du dessin
terms translations

[suggested translation, Marije Osnabrugge:] {How one should behave in Sketching and further composing.} And first about the Sketch, with which you also firstly should design your things, in which manner of Drawing, Spirited, Loose, yet wisely, and afterwards with observation, following that which we have said about it, correct it and compose it neatly [ndr: in a finalized form], making a habit out of pointing out masterfully the main Shadows and mouvements [ndr: uncertain translation!] with Charcoal, in the improved composition, in order to better determine the composition: (…) {About the contour.} After which one should start to make the contours, therein paying utmost attention to the Nobility of the contours, to place them at the right spot in line with the Parts;

Conceptual field(s)

CONCEPTS ESTHETIQUES → génie, esprit, imagination
terms translations

[suggested translation, Marije Osnabrugge:] {How one should behave in Sketching and further composing.} And first about the Sketch, with which you also firstly should design your things, in which manner of Drawing, Spirited, Loose, yet wisely, and afterwards with observation, following that which we have said about it, correct it and compose it neatly [ndr: in a finalized form], making a habit out of pointing out masterfully the main Shadows and mouvements [ndr: uncertain translation!] with Charcoal, in the improved composition, in order to better determine the composition: (…) {About the contour.} After which one should start to make the contours, therein paying utmost attention to the Nobility of the contours, to place them at the right spot in line with the Parts;

Conceptual field(s)

EFFET PICTURAL → touche
terms translations

[suggested translation, Marije Osnabrugge:] {How one should behave in Sketching and further composing.} And first about the Sketch, with which you also firstly should design your things, in which manner of Drawing, Spirited, Loose, yet wisely, and afterwards with observation, following that which we have said about it, correct it and compose it neatly [ndr: in a finalized form], making a habit out of pointing out masterfully the main Shadows and mouvements [ndr: uncertain translation!] with Charcoal, in the improved composition, in order to better determine the composition: (…) {About the contour.} After which one should start to make the contours, therein paying utmost attention to the Nobility of the contours, to place them at the right spot in line with the Parts;

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] {How one should behave in Sketching and further composing.} And first about the Sketch, with which you also firstly should design your things, in which manner of Drawing, Spirited, Loose, yet wisely, and afterwards with observation, following that which we have said about it, correct it and compose it neatly [ndr: in a finalized form], making a habit out of pointing out masterfully the main Shadows and mouvements [ndr: uncertain translation!] with Charcoal, in the improved composition, in order to better determine the composition: (…) {About the contour.} After which one should start to make the contours, therein paying utmost attention to the Nobility of the contours, to place them at the right spot in line with the Parts;

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] {How one should behave in Sketching and further composing.} And first about the Sketch, with which you also firstly should design your things, in which manner of Drawing, Spirited, Loose, yet wisely, and afterwards with observation, following that which we have said about it, correct it and compose it neatly [ndr: in a finalized form], making a habit out of pointing out masterfully the main Shadows and mouvements [ndr: uncertain translation!] with Charcoal, in the improved composition, in order to better determine the composition: (…) {About the contour.} After which one should start to make the contours, therein paying utmost attention to the Nobility of the contours, to place them at the right spot in line with the Parts;

Conceptual field(s)

L’ARTISTE → qualités

{Vande omtrecken.} Merckt vorders aengaende de omtrecken, dat gy die niet te hart noch te scherp en haelt, voornamentlijck op den dagh; (het sy dan dat ghy Teyckent met Swart Krijt, of Root Krijt, of anders:) maer inde beschaduwde zijde mooght ghyse wel wat stercker en breeder haelen; t’elckens daer op acht gevende, datse door het uytschaduwen soodanigh konnen weg smelten, datter by na als gheen trecken meer overigh en blijven; alsoo dat uwe Teyckeningh schijnt als sonder ommetrecken Geteyckent te zijn;

terms translations

[suggested translation, Marije Osnabrugge:] {About the contours.} Also pay attention, with regard to the contours, that you do not draw too hard or too sharply, especially in the light parts; (whether you draw with Black Crayon, or Red Crayon, or something else:) but in the shadowed part you may draw them a little more strongly and broadly; always paying attention, that they can melt away through shadowing in such a way, that almost no strokes remain; through which your Drawing will appear to be drawn without contours;

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

[suggested translation, Marije Osnabrugge:] {About the contours.} Also pay attention, with regard to the contours, that you do not draw too hard or too sharply, especially in the light parts; (whether you draw with Black Crayon, or Red Crayon, or something else:) but in the shadowed part you may draw them a little more strongly and broadly; always paying attention, that they can melt away through shadowing in such a way, that almost no strokes remain; through which your Drawing will appear to be drawn without contours;

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
terms translations

[suggested translation, Marije Osnabrugge:] {About the contours.} Also pay attention, with regard to the contours, that you do not draw too hard or too sharply, especially in the light parts; (whether you draw with Black Crayon, or Red Crayon, or something else:) but in the shadowed part you may draw them a little more strongly and broadly; always paying attention, that they can melt away through shadowing in such a way, that almost no strokes remain; through which your Drawing will appear to be drawn without contours;

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière

{Kleyne dingen konnen somtijts sonder omtreck gemaeckt worden, en nochtans omgetrocken schijnen.} Men kan oock veel dingen, insonderheyt in ’t kleyne ofte kleyne deelen, sonder trecken tegen den dagh aenwijsen, die evenwel soo volkomen sullen schijnen als ofse omghetrocken ware; daer van alle voorvallen niet wel en konnen geseyt worden; Wy sullen slechts een Exempel [ndr: reference to illustration] voor allen stellen, de reste moet de Geest van een Geestigh Teyckenaer na gelegentheydt te passen, volgens ’t gene sijn Voorwerp sal konnen lijden; door welcke op-merckingh men veel aerdigheyts en lossigheyts in sijne Teyckeningh sal konnen brengen, die het verstandt vanden Teyckenaer, aenden Kundigen beschouwer genoegsaem sal te kennen geven.

terms translations

[suggested translation, Marije Osnabrugge:] {Small things can sometimes be made without contour, and still appear contoured.} One can also point out many things, especially in small and in small parts, without lines against the light parts, which will still appear as perfect as if they were contoured; of which we cannot name all examples; We will just give one example for all of them [ndr: reference to illustration], the Mind of a Spirited Draughtsman should form the rest after the circumstances, according to that which his Subject can take; by which observation one can bring a lot of pleasantry and looseness in his Drawing, which will nicely show the mind of the Draughtsman to the competent spectator.

Conceptual field(s)

CONCEPTS ESTHETIQUES → génie, esprit, imagination
CONCEPTS ESTHETIQUES → beauté, grâce et perfection
terms translations

[suggested translation, Marije Osnabrugge:] {Small things can sometimes be made without contour, and still appear contoured.} One can also point out many things, especially in small and in small parts, without lines against the light parts, which will still appear as perfect as if they were contoured; of which we cannot name all examples; We will just give one example for all of them [ndr: reference to illustration], the Mind of a Spirited Draughtsman should form the rest after the circumstances, according to that which his Subject can take; by which observation one can bring a lot of pleasantry and looseness in his Drawing, which will nicely show the mind of the Draughtsman to the competent spectator.

Conceptual field(s)

terms translations

[suggested translation, Marije Osnabrugge:] {Small things can sometimes be made without contour, and still appear contoured.} One can also point out many things, especially in small and in small parts, without lines against the light parts, which will still appear as perfect as if they were contoured; of which we cannot name all examples; We will just give one example for all of them [ndr: reference to illustration], the Mind of a Spirited Draughtsman should form the rest after the circumstances, according to that which his Subject can take; by which observation one can bring a lot of pleasantry and looseness in his Drawing, which will nicely show the mind of the Draughtsman to the competent spectator.

The phrasing of this sentence is somewhat different in the German translation, which means that Verstand is only an approximate translation for Geest. [MO]

Conceptual field(s)

L’ARTISTE → qualités
CONCEPTS ESTHETIQUES → génie, esprit, imagination
terms translations

[suggested translation, Marije Osnabrugge:] {Small things can sometimes be made without contour, and still appear contoured.} One can also point out many things, especially in small and in small parts, without lines against the light parts, which will still appear as perfect as if they were contoured; of which we cannot name all examples; We will just give one example for all of them [ndr: reference to illustration], the Mind of a Spirited Draughtsman should form the rest after the circumstances, according to that which his Subject can take; by which observation one can bring a lot of pleasantry and looseness in his Drawing, which will nicely show the mind of the Draughtsman to the competent spectator.

Conceptual field(s)

CONCEPTS ESTHETIQUES → génie, esprit, imagination
L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] {Small things can sometimes be made without contour, and still appear contoured.} One can also point out many things, especially in small and in small parts, without lines against the light parts, which will still appear as perfect as if they were contoured; of which we cannot name all examples; We will just give one example for all of them [ndr: reference to illustration], the Mind of a Spirited Draughtsman should form the rest after the circumstances, according to that which his Subject can take; by which observation one can bring a lot of pleasantry and looseness in his Drawing, which will nicely show the mind of the Draughtsman to the competent spectator.

Conceptual field(s)

EFFET PICTURAL → qualité du dessin
terms translations

[suggested translation, Marije Osnabrugge:] {Small things can sometimes be made without contour, and still appear contoured.} One can also point out many things, especially in small and in small parts, without lines against the light parts, which will still appear as perfect as if they were contoured; of which we cannot name all examples; We will just give one example for all of them [ndr: reference to illustration], the Mind of a Spirited Draughtsman should form the rest after the circumstances, according to that which his Subject can take; by which observation one can bring a lot of pleasantry and looseness in his Drawing, which will nicely show the mind of the Draughtsman to the competent spectator.

Conceptual field(s)

L’ARTISTE → qualités

De meeninge van dit Exempel [ndr: reference to illustration] eens wel verstaen zijnde, salmen sich gewennen dit te observeeren, en de geseyde lossigheydt (na gelegentheydt van tijdt) met kennis hier en daer in sijn Teyckeninghen weten te oeffenen; ten eynde ghy daer door een aerdige manniere en Meesterlijcke handelingh meught bekomen.
Staet oock noch wel aen te mercken, dat dit alles niet verstaen en wort van allerhande mannieren van Teyckenen, want het rouw en Schetsachtigh Teyckenen, meest in trecken en omtrecken bestaet, al-hoe-wel de lossigheydt en ongeachtheydt daer in oock een seer groot voordeel geven kan, wanneerse gheleerdelijck en wel op sijne plaets is toe-gepast.

terms translations

[suggested translation, Marije Osnabrugge:] As soon as one understands the meaning of this Example well, one will accustom oneself to observe it and (after a certain period) be able to apply with knowledge the aforementioned looseness to his Drawing; in order for you to acquire a pleasant manner and Masterly handling through it. It is to be remarked, that all of this is not applicable to all manners of Drawing, as the rough and sketch-like Drawing, exists mainly of lines and contours, although the looseness and carelessness can also provide great advantage there, when it is applied wisely and at the right place.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] As soon as one understands the meaning of this Example well, one will accustom oneself to observe it and (after a certain period) be able to apply with knowledge the aforementioned looseness to his Drawing; in order for you to acquire a pleasant manner and Masterly handling through it. It is to be remarked, that all of this is not applicable to all manners of Drawing, as the rough and sketch-like Drawing, exists mainly of lines and contours, although the looseness and carelessness can also provide great advantage there, when it is applied wisely and at the right place.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] As soon as one understands the meaning of this Example well, one will accustom oneself to observe it and (after a certain period) be able to apply with knowledge the aforementioned looseness to his Drawing; in order for you to acquire a pleasant manner and Masterly handling through it. It is to be remarked, that all of this is not applicable to all manners of Drawing, as the rough and sketch-like Drawing, exists mainly of lines and contours, although the looseness and carelessness can also provide great advantage there, when it is applied wisely and at the right place.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
EFFET PICTURAL → touche
terms translations

[suggested translation, Marije Osnabrugge:] As soon as one understands the meaning of this Example well, one will accustom oneself to observe it and (after a certain period) be able to apply with knowledge the aforementioned looseness to his Drawing; in order for you to acquire a pleasant manner and Masterly handling through it. It is to be remarked, that all of this is not applicable to all manners of Drawing, as the rough and sketch-like Drawing, exists mainly of lines and contours, although the looseness and carelessness can also provide great advantage there, when it is applied wisely and at the right place.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

[suggested translation, Marije Osnabrugge:] As soon as one understands the meaning of this Example well, one will accustom oneself to observe it and (after a certain period) be able to apply with knowledge the aforementioned looseness to his Drawing; in order for you to acquire a pleasant manner and Masterly handling through it. It is to be remarked, that all of this is not applicable to all manners of Drawing, as the rough and sketch-like Drawing, exists mainly of lines and contours, although the looseness and carelessness can also provide great advantage there, when it is applied wisely and at the right place.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
L’ARTISTE → qualités

Nu willen wy tot Besluyt Van het Op-Teyckenen en Uyt-voeren Spreecken, omtrent welcke, wel met een geleerde Oogh dient aengemerckt te werden, datmen de dingen diemen in ’t navolgen siet, niet alleen Manneken na Manneken na en aept, even als de Kinderen doen; maer datmen lette (het zy datmen na Print, Teyckeningh, of Schilderye yets doet) wat den Meester van sijn Principael, met alle het gene hy in sijn werck gemaeckt heeft, seggen wil; wat sijn gedachten daer omtrent zijn geweest; wat dese of gene treck, schaduw, licht of Hooghsel beteeckent, waer sy van daen komt, waerom hy het hier bruyn, gints noch donckerder, vlack, of licht gemaeckt heeft; en door wat middel, en om wat reden, en diergelijcke opmerckingh; om dat alles na den regel van proportie, sulcks oock in uwe Teyckeningh te brengen, en geleert inde Konst te werden.
Insghelijcks moetmen in ’t beschouwen van ’t natuerlijck leven aenmercken, door wat leden en deelen een dingh komt te wesen, soo als wy sien dat het is, of sich aen ons vertoont:

terms translations

[suggested translation, Marije Osnabrugge:] In closing, we now want to talk about the finishing of the draught and the execution, about which it should be remarked with a learned Eye, that one does not simply ape the things that one sees in imitating, Figure after Figure, like Children do; but rather that one pays attention (whether one does something after a Print, Drawing or Painting) to what the Master of the Original wants to say with all that which he has put in his work; what his thoughts were about it; what this or that line, shadow, light or Highlight means, where it comes from, why he has made it dark here and there even darker, flat or light; and by what means, and for what reason, and such observations; to apply all that, following the rule of proportion, in your Drawing, and become learned in the Art. Similarly, one should notice in the observation of the natural life, of what members and parts a thing consists, through which we recognize it and it shows itself to us:

Conceptual field(s)

CONCEPTS ESTHETIQUES → génie, esprit, imagination
terms translations

[suggested translation, Marije Osnabrugge:] In closing, we now want to talk about the finishing of the draught and the execution, about which it should be remarked with a learned Eye, that one does not simply ape the things that one sees in imitating, Figure after Figure, like Children do; but rather that one pays attention (whether one does something after a Print, Drawing or Painting) to what the Master of the Original wants to say with all that which he has put in his work; what his thoughts were about it; what this or that line, shadow, light or Highlight means, where it comes from, why he has made it dark here and there even darker, flat or light; and by what means, and for what reason, and such observations; to apply all that, following the rule of proportion, in your Drawing, and become learned in the Art. Similarly, one should notice in the observation of the natural life, of what members and parts a thing consists, through which we recognize it and it shows itself to us:

In the German translation, the term is described as 'lebendige Vorbild'. [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

[suggested translation, Marije Osnabrugge:] In closing, we now want to talk about the finishing of the draught and the execution, about which it should be remarked with a learned Eye, that one does not simply ape the things that one sees in imitating, Figure after Figure, like Children do; but rather that one pays attention (whether one does something after a Print, Drawing or Painting) to what the Master of the Original wants to say with all that which he has put in his work; what his thoughts were about it; what this or that line, shadow, light or Highlight means, where it comes from, why he has made it dark here and there even darker, flat or light; and by what means, and for what reason, and such observations; to apply all that, following the rule of proportion, in your Drawing, and become learned in the Art. Similarly, one should notice in the observation of the natural life, of what members and parts a thing consists, through which we recognize it and it shows itself to us:

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

{Schaduwen moet men niet wel soo doncker maecken alsmen kan.} Wanneer nu datmen sijn dingen begint op te Teyckenen, soo salmen voornamentlijck in ’t uytschaduwen letten, datmen in ’t eerste die niet soo sterck noch doncker en maeckt, als die wesen moet, noch alsmen die krijgen kan; maer door altijt wat te goet te houden, sien meester van sijn Teykening te blijven, op dat gy het daer na (soo het noot dede) altijt wat donckerder kont maecken; want het kan gebeuren dat ghy om Schilderachtigh te Teyckenen, yets donckerder sout moeten maecken, indien ghy eenige houdinge of wijckingh in uwe Teyckeningh sout willen brengen;

terms translations

[suggested translation, Marije Osnabrugge:] {Shadows should not be made as dark as possible.} As soon as one starts to finish his draught, one should foremost pay attention in shadowing not to make them too strong or dark, as it should be, nor as one can make it; but keeping something left in stock, trying to remain the master of his Drawing, so that you can always make it a little darker (if necessary); because it can happen that you should make it a little darker to draw Painterly, if you want to apply some harmony or contrast in your Drawing;

In the English translation, this term is described as 'finishing your draught'. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

[suggested translation, Marije Osnabrugge:] {Shadows should not be made as dark as possible.} As soon as one starts to finish his draught, one should foremost pay attention in shadowing not to make them too strong or dark, as it should be, nor as one can make it; but keeping something left in stock, trying to remain the master of his Drawing, so that you can always make it a little darker (if necessary); because it can happen that you should make it a little darker to draw Painterly, if you want to apply some harmony or contrast in your Drawing;

In the German translation (1677), this term is described as 'nach der Kunst'. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité du dessin
terms translations

[suggested translation, Marije Osnabrugge:] {Shadows should not be made as dark as possible.} As soon as one starts to finish his draught, one should foremost pay attention in shadowing not to make them too strong or dark, as it should be, nor as one can make it; but keeping something left in stock, trying to remain the master of his Drawing, so that you can always make it a little darker (if necessary); because it can happen that you should make it a little darker to draw Painterly, if you want to apply some harmony or contrast in your Drawing;

In the English translation, this term is described as 'finishing your shades'. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
CONCEPTION DE LA PEINTURE → lumière

Daerom datmen sich van jonghs aen seer saght, flaeuw en eenparigh sal ghewennen te Tecykenen, en in die flaeuwigheyt soo veel als doenlijck is, de verminderingh ofte Perspective van doncker en licht sien in te voeren;

terms translations

[suggested translation, Marije Osnabrugge:] Therefore one should accustom oneself to Draw very soft, weak and even, and introduce the diminution or Perspective of dark and light in that weakness as good as possible;

Conceptual field(s)

EFFET PICTURAL → qualité du dessin
terms translations

[suggested translation, Marije Osnabrugge:] Therefore one should accustom oneself to Draw very soft, weak and even, and introduce the diminution or Perspective of dark and light in that weakness as good as possible;

Conceptual field(s)

EFFET PICTURAL → qualité du dessin
terms translations

[suggested translation, Marije Osnabrugge:] Therefore one should accustom oneself to Draw very soft, weak and even, and introduce the diminution or Perspective of dark and light in that weakness as good as possible;

Conceptual field(s)

EFFET PICTURAL → qualité du dessin
terms translations

[suggested translation, Marije Osnabrugge:] Therefore one should accustom oneself to Draw very soft, weak and even, and introduce the diminution or Perspective of dark and light in that weakness as good as possible;

verminderingh

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] Therefore one should accustom oneself to Draw very soft, weak and even, and introduce the diminution or Perspective of dark and light in that weakness as good as possible;

perspective

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] Therefore one should accustom oneself to Draw very soft, weak and even, and introduce the diminution or Perspective of dark and light in that weakness as good as possible;

Conceptual field(s)

EFFET PICTURAL → qualité du dessin

{Geen licht noch schaduwen moet men in ’t navolgen alleen aensien.} Voor eerst, neemt wel in acht het sterckste licht an U gansche stuck, en oock soo vande donckerste schaduwen; ende en maeckt geen Hooghsel ofte licht dat ghy alleen aensiet; maer let t’elckens op het sterckste, en op alle andere lichten, die als eenigh licht in Consideratie komen, hoe veel het daer van in minderheydt of meerderheyt is verschillende.

terms translations

[suggested translation, Marije Osnabrugge:] {One should not look at lights or shadows separately in imitating.} Foremost, pay close attention to the strongest light in your whole work, and also of the darkest shadows; and make no Highlight or light separately; but always pay attention to the strongest and all other lights, when taken into consideration as a separate light, how much it differs from it, less or more.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière

Daerom datmen in het Teyckenen geduerigh licht tegen licht, en doncker tegen doncker moet vergelijcken, soo sult ghy als door een wijsen Regel, de kracht en sterckte van yeder licht en schaduwe uytvinden; en alsso een eenparigheyt, generaelheyt, houdinghe en uytvoerigheydt in uwe Teyckeningen bekomen.

terms translations

[suggested translation, Marije Osnabrugge:] This is why, in Drawing, one should continually compare light against light and dark against dark, for you will understand as through a wise Rule, the power and force of each light and shadow; and consequently acquire an evenness, generality, harmony and execution in your Drawings.

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] This is why, in Drawing, one should continually compare light against light and dark against dark, for you will understand as through a wise Rule, the power and force of each light and shadow; and consequently acquire an evenness, generality, harmony and execution in your Drawings.

Conceptual field(s)

EFFET PICTURAL → qualité du dessin
terms translations

[suggested translation, Marije Osnabrugge:] This is why, in Drawing, one should continually compare light against light and dark against dark, for you will understand as through a wise Rule, the power and force of each light and shadow; and consequently acquire an evenness, generality, harmony and execution in your Drawings.

The German translator did not translate the Dutch term 'houding', in this citation. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] This is why, in Drawing, one should continually compare light against light and dark against dark, for you will understand as through a wise Rule, the power and force of each light and shadow; and consequently acquire an evenness, generality, harmony and execution in your Drawings.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] This is why, in Drawing, one should continually compare light against light and dark against dark, for you will understand as through a wise Rule, the power and force of each light and shadow; and consequently acquire an evenness, generality, harmony and execution in your Drawings.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
EFFET PICTURAL → touche