RICHARDSON, Jonathan, An Essay on the Theory of Painting. By Mr. Richardson. The Second Edition, Enlarg'd, and Corrected, London, A. C. - A. Bettesworth, 1725.

Getty Research Institute Los Angeles ND1130 .R5 1725er 295 quotations 173 terms
L’Essay on the Theory of Painting, publié en 1715, puis réédité en 1725, est le premier texte de théorie artistique écrit par Jonathan Richardson senior (1667-1745), portraitiste et collectionneur de dessins et de gravures. Il publie en parallèle deux autres ouvrages sur l’art : le premier en 1719, Two Discourses. I. An Essay on the whole art of criticism as it relates to painting […] II. An Argument in behalf of the science of a connoisseur, qui, comme l’indique le titre s’adresse aux individus s’intéressant à la peinture et désirant s’approprier les fondements de cet art ; le second en 1722, co-écrit avec son fils, Jonathan Richardson Junior (1694-1771), et intitulé An Account of Some of the Statues, Bas-Reliefs, Drawings, and Pictures in Italy &c., rassemble des descriptions d’objets d’art situés principalement en Italie. L’ensemble de ses travaux est traduit en français en 1728 et publié sous le titre Traité de la peinture et de la sculpture.
Son Essay on the Theory of Painting se caractérise par une volonté de promouvoir une école britannique de peinture, très souvent dénigrée en raison de sa pratique presque exclusive des genres picturaux dits bas, et notamment du portrait, mais aussi à cause de la présence d’un grand nombre d’artistes étrangers sur son sol. À travers son Essay, Richardson tente de prouver l’utilité de l’art, et, s’adressant aux artistes britanniques, de les convaincre d’étudier et d’atteindre le meilleur d’eux-mêmes, afin qu’une école anglaise de peinture soit reconnue. Cette volonté nationaliste est d’autant plus intéressante que Richardson écrit peu après la fusion des parlements anglais et écossais (1707) qui crée alors le « Royaume-Uni de Grande-Bretagne ». On note qu’à partir de 1711, Richardson fait partie de l’Académie de Great Queen Street, se caractérisant par une volonté de réunir des artistes et notamment des portraitistes, et de leur donner une certaine visibilité.
Par ailleurs, Richardson est à la recherche d’une certaine indépendance, ce qui est visible dans son refus de demander à un prince ou un aristocrate d’être à la tête de cette Académie. Un reflet de cette volonté apparaît dans l’absence de dédicataire de son Essay.
Comme le soulignent I. Baudino et F. Ogée, les écrits de Richardson « constituent le premier maillon d’un travail d’anglicisation du discours sur l’art […], qui offrait enfin aux artistes anglais et à leur public un langage et une méthode leur permettant d’affirmer une identité et une originalité nationales ». Le fait que Richardson utilise presque toujours des mots anglais lorsqu’il évoque des notions de théorie artistique semble indiquer ce souhait. En effet, Richardson se sert peu de mots français ou italiens, à l’exception de clair-obscur et tout-ensemble, ce dernier mot étant néanmoins traduit dans certains cas par whole together.
Même si Richardson peut s’inspirer des théoriciens français comme Roger de Piles, il développe néanmoins une vision différente. Il estime par exemple qu’il existe sept parties de la peinture (invention, expression, composition, dessin, coloris, maniement, grâce et grandeur) alors que Roger de Piles n’en distingue que trois (composition, dessin, coloris). Le chapitre sur le sublime, un peu remanié par rapport à la première édition, est également très développé, mais ne s’applique pas seulement à l’art (Richardson le commence en évoquant l’écriture).
Il est à noter qu’on ne retrouve aucune illustration insérée directement dans le texte, bien que de nombreux exemples d’œuvres soient donnés par Richardson (et en particulier les Cartons de Raphaël, qui étaient alors exposés à Hampton Court, lieu relativement accessible au public).

Élodie Cayuela
in-8 english
Structure
Préface at iii

RICHARDSON, Jonathan, An Essay on the Theory of Painting, London, W. Bowyer, 1715.

RICHARDSON, Jonathan, The Works of Mr. Jonathan Richardson. Consisting of I. The Theory of Painting. II. Essay on the Art of Criticism, so far as it relates to Painting. III. The Science of a Connoisseur. All corrected and prepared for the Press By his Son Mr. J. Richardson, RICHARDSON, Jonathan Junior (éd.), London, T. Davies, 1773.

RICHARDSON, Jonathan, The Works of Jonathan Richardson. Containing I. The Theory of Painting. II. Essay on the Art of Criticism, (So far as it relates to Painting). III. The Science of a Connoisseur. A New Edition, corrected, with the Additions of An Essay on the Knowledge of Prints, and Cautions to Collectors, Ornamented with Portraits by Worlidge, &c. of the most Eminent Painters mentioned. Dedicated, by Permission, to Sir Joshua Reynolds, London, T. et J. Egerton, 1792.

RICHARDSON, Jonathan, The Works, Hildesheim, G. Olms, 1969.

RICHARDSON, Jonathan, Traité de la Peinture, Par Mr. Richardson, le Père, Tomes I. et II. Contenant, Tome I. Un Essai sur la Théorie de la Peinture ; Tome II. Un Essai sur l'art de critiquer, en fait de Peinture ; & un Discours sur la Sience d'un Connoisseur. Traduit de l'Anglois; Revu & Corrigé par l'Auteur., trad. par RUTGERS, Antoine, Amsterdam, Herman Uytwerf, 1728, 2 vol., vol. I.

RICHARDSON, Jonathan, Traité de la peinture et de la sculpture, trad. par RUTGERS, Antoine et TEN KATE, Lambert, Genève, Minkoff Reprint, 1972.

RICHARDSON, Jonathan, Traité de la peinture et de la sculpture, BAUDINO, Isabelle et OGÉE, Frédéric (éd.), Paris, École nationale supérieure des Beaux-Arts, 2008.

SNELGROVE, Gordon William, The Work and Theories of Jonathan Richardson (1665-1745), Thesis, University of London, 1936.

PAKNADEL, Félix, Critique et peinture en Angleterre de 1660 à 1770, Thèse de doctorat, Université de Provence, 1978.

HABERLAND, Irene, Jonathan Richardson, 1666-1745 : die Begründung der Kunstkennerschaft, Münster, LIT, 1991.

GIBSON-WOOD, Carol, Jonathan Richardson: Art Theorist of the English Enlightenment, New Haven - London, Yale University Press, 2000.

GIBSON-WOOD, Carol, « “A Judiciously Disposed Collection”: Jonathan Richardson Senior's Cabinet of Drawings », dans BAKER, Christopher, ELAM, Caroline et WARWICK, Genevieve (éd.), Collecting Prints and Drawings in Europe (c. 1500-1750), Aldershot, Ashgate, 2003, p. 155-171.

GEEST, Simone von der, The Reasoning Eye: Jonathan Richardson's (1667-1745) Portrait Theory and Practice in the Context of the English Enlightenment, Thesis, University of London, 2005.

HAMLETT, Lydia et BONETT, Helena, « Sublime Portraiture: Jonathan Richardson’s Portrait of the Artist’s Son, "Jonathan Richardson Junior, in his Study" and Anthony Van Dyck’s "Portrait of Lary Hill, Lady Killigrew" », dans LLEWELLYN, Nigel et RIDING, Christine (éd.), The Art of the Sublime, 2013 [En ligne : https://www.tate.org.uk/art/research-publications/the-sublime/lydia-hamlett-and-helena-bonett-sublime-portraiture-jonathan-richardsons-portrait-of-the-r1138671 consulté le 09/05/2016].

FILTERS

QUOTATIONS

The great Business of Painting I have often said, and would fain inculcate, is to relate a History, or a Fable, as the best Historians, or Poets have done ; to make a Portrait so as to do Justice at least, and Sometimes not without a little Complaisance ; and that to the Mind, as well as to the Face, and Person ; To represent Nature, or rather the Best of Nature ; and where it can be done, to Raise and Improve it ; to give all the Grace and Dignity the Subject has, all that a well instructed Eye can discover in it, or which such a Judgment can find ‘tis Capable of in its most Advantagious Moments.

Contrairement aux autres passages de l'Essay on the Theory of Painting, la préface n'est pas traduite dans l'édition française de 1728.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture
GENRES PICTURAUX → peinture d’histoire
GENRES PICTURAUX → portrait

Neatness, and high Finishing ; a Light, Bold Pencil ; Gay, and Vivid Colours, Warm, and Sombrous ; Force, and Tenderness, All these are Excellencies when judiciously employd, and in Subserviency to the Principal End of the Art ; But they are Beauties of an Inferior Kind even when So employd ; they are the Mechanick Parts of Painting, and require no more Genius, or Capacity, than is necessary to, and frequently seen in Ordinary Workmen ; […] ; These properties are in Painting, as Language, Rhime, and Numbers are in Poetry ; and as he that stops at These as at what Constitutes the Goodness of a Poem is a Bad Critick, He is an Ill Connoisseur who has the same Consideration for these Inferious Excellencies in a Picture.

How much more if for the sake of These, a Picture is esteemed where the Story is Ill Told, and Nature is Ill represented, or not well chosen : If it be imagin’d to be good, because a Piece of Lace, or Brocade, a Fly, a Flower, a Wrinkle, a Wart, is highly finish’d, and (if you please) Natural, and well in its Kind ; or because the Colours are Vivid, or the Lights and Shadows Strong, though the Essential Parts are without Grace or Dignity, or are even Ridiculous.

Contrairement aux autres passages de l'Essay on the Theory of Painting, la préface n'est pas traduite dans l'édition française de 1728.

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière

Neatness, and high Finishing ; a Light, Bold Pencil ; Gay, and Vivid Colours, Warm, and Sombrous ; Force, and Tenderness, All these are Excellencies when judiciously employd, and in Subserviency to the Principal End of the Art ; But they are Beauties of an Inferior Kind even when So employd ; they are the Mechanick Parts of Painting, and require no more Genius, or Capacity, than is necessary to, and frequently seen in Ordinary Workmen ; […] ; These properties are in Painting, as Language, Rhime, and Numbers are in Poetry ; and as he that stops at These as at what Constitutes the Goodness of a Poem is a Bad Critick, He is an Ill Connoisseur who has the same Consideration for these Inferious Excellencies in a Picture.

Contrairement aux autres passages de l'Essay on the Theory of Painting, la préface n'est pas traduite dans l'édition française de 1728.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs

Contrairement aux autres passages de l'Essay on the Theory of Painting, la préface n'est pas traduite dans l'édition française de 1728.

Conceptual field(s)

SPECTATEUR → jugement

Contrairement aux autres passages de l'Essay on the Theory of Painting, la préface n'est pas traduite dans l'édition française de 1728.

Conceptual field(s)

EFFET PICTURAL → touche
EFFET PICTURAL → qualité des couleurs
EFFET PICTURAL → qualité de la composition

Contrairement aux autres passages de l'Essay on the Theory of Painting, la préface n'est pas traduite dans l'édition française de 1728.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

Contrairement aux autres passages de l'Essay on the Theory of Painting, la préface n'est pas traduite dans l'édition française de 1728.

Conceptual field(s)

EFFET PICTURAL → qualité de la composition
EFFET PICTURAL → qualité des couleurs
EFFET PICTURAL → touche

Contrairement aux autres passages de l'Essay on the Theory of Painting, la préface n'est pas traduite dans l'édition française de 1728.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

Contrairement aux autres passages de l'Essay on the Theory of Painting, la préface n'est pas traduite dans l'édition française de 1728.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
CONCEPTION DE LA PEINTURE → couleur

Contrairement aux autres passages de l'Essay on the Theory of Painting, la préface n'est pas traduite dans l'édition française de 1728.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

Contrairement aux autres passages de l'Essay on the Theory of Painting, la préface n'est pas traduite dans l'édition française de 1728.

Conceptual field(s)

EFFET PICTURAL → touche
EFFET PICTURAL → qualité des couleurs
EFFET PICTURAL → qualité de la composition

Painting is that Pleasant, Innocent Amusement. But ’tis More ; ’tis of great Use, as being one of the means whereby we convey our Ideas to each other, and which in some respects has the Advantage of all the rest. And thus it must be rank’d with These, and accordingly esteem’d not only as an Enjoyment, but as another Language, which completes the whole Art of communicating our Thoughts ; one of those particulars which raises the Dignity of Human Nature so much above the Brutes ; and which is the more considerable, as being a Gift bestowed but upon a Few even of our own Species.

terms translations

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture

Words paint to the Imagination, but every Man forms the thing to himself in his Own way : Language is very Imperfect : There are innumerable Colours, and Figures for which we have no name, […] ; whereas the Painter can convey his Ideas of these Things Clearly, and without Ambiguity ; and what he says every one understands in the Sense he intends it.
And this is a Language that is Universal ; Men of all Nations hear the Poet, Moralist, Historian, Divine, or whatever other Character the Painter assumes, speaking to them in their own Mother Tongue.

terms translations

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture

The Pleasure that Painting, as a Dumb Art, gives us, is like what we have from Musick ; its beautiful Forms, Colours and Harmony, are to the Eye what Sounds, and the Harmony of that kind are to the Ear ; and in both we are delighted in observing the Skill of the Artist in proportion to It, and our own Judgment to discover it.

terms translations

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → comparaison entre les arts
SPECTATEUR → perception et regard

By the help of this Art [ndr : la peinture] we have the Pleasure of seeing a vast Variety of Things and Actions, of travelling by Land or Water, of knowing the Humours of Low Life without mixing with it, of viewing Tempests, Battels, Inundations ; and, in short, of all Real or Imagin’d Appearances in Heaven, Earth, or Hell ;

terms translations

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture

Nor do we barely see this Variety of Natural Objects, but in Good Pictures we always see Nature Improv’d, or at least the best Choice of it. We thus have nobler and finer Ideas of Men, Animals, Landscapes, &c. than we should perhaps have ever had ;

terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

And if moreover what I write may hereafter happen to be of use of any body else, whether it be to put a Lover of Art in a Method to judge of a Picture, (and which in most things a Gentleman may do altogether as well as a Painter) or to awaken some useful Hints in some of my own Profession ; […] If these Consequences happen, it will be a Satisfaction to me over and above.

terms translations

Conceptual field(s)

So by conversing with the Works of the best Masters in Painting, one forms better Images whilst we are Reading, or Thinking. I see the Divine Airs of Rafaëlle when I read any History of our Saviour, or the Blessed Virgin ; and the Awful ones he gives an Apostle when I read of their Actions, and conceive of those Actions that He, and Other great Men describe in a Nobler manner than otherwise I should ever have done.

terms translations

Conceptual field(s)

L’ARTISTE → qualités

To come to Portraits ; the Picture of an absent Relation, or Friend, helps to keep up those Sentiments which frequently languish by Absence and may be instrumental to maintain, and sometimes to augment Friendship, and Paternal, Filial, and Conjugal Love, and Duty.
Upon the sight of a Portrait, the Character, and Master-strokes of the History of the Person it represents are apt to flow in upon the Mind, and to be the Subject of Conversation : So that to sit for one’s Picture, is to have an Abstract of one’s Life written, and published, and ourselves thus consign’d over to Honour, or Infamy.

terms translations

Conceptual field(s)

GENRES PICTURAUX → portrait

But (by the way) ‘tis not every Picture-maker that ought to be called a Painter, as every Rhymer, or Grubstreet Tale-Writer is not a Poet, or Historian : a Painter ought to be a Title of Dignity, and understood to imply a Person endued with such Excellencies of Mind, and Body, as have ever been the Foundations of Honour amongst Men.

terms translations

Conceptual field(s)

L’ARTISTE → qualités
terms translations

Conceptual field(s)

L’ARTISTE → qualités

He that Paints a History well, must be able to Write it ; he must be throughly inform’d of all things relating to it, and conceive it clearly, and nobly in his Mind, or he can never express it upon the Canvas : He must have a solid Judgment, with a lively Imagination, and know what Figures, and what Incidents ought to be brought in, and what every one should Say, and Think.

terms translations

Conceptual field(s)

GENRES PICTURAUX → peinture d’histoire
terms translations

Conceptual field(s)

GENRES PICTURAUX → peinture d’histoire
L’ARTISTE → qualités

and Painting, as well as Poetry, requiring an Elevation of Genius beyond what pure Historical Narration does ; the Painter must imagine his Figures to Think, Speak, and Act, as a Poet should do in a Tragedy, or Epick Poem ; especially if his Subject be a Fable, or an Allegory. If a Poet has moreover the Care of the Diction, and Versification, the Painter has a Task perhaps at least Equivalent to That, after he has well conceived the thing (over and above what is merely Mechanical, and other particulars, which shall be spoken to presently) and that is the Knowledge of the Nature, and Effects of Colours, Lights, Shadows, Reflections, &c.

terms translations

Il est intéressant de noter que le traducteur a choisi de traduire l'expression "Elevation of Genius" par le terme français "Relevé".

Conceptual field(s)

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

Conceptual field(s)

L’ARTISTE → qualités
GENRES PICTURAUX → peinture d’histoire
CONCEPTS ESTHETIQUES → génie, esprit, imagination

To be a good Face-Painter, a degree of the Historical, and Poetical Genius is requisite, and a great Measure of the other Talents, and Advantages which a good History-Painter must possess : Nay some of them, particularly Colouring, he ought to have in greater Perfection than is absolutely necessary for a History-Painter.
‘Tis not enough to make a Tame, Insipid Resemblance of the Features, so that every body shall know who the Picture was intended for, nor even to make the Picture what is often said to be prodigious Like : (This is often done by the lowest of Face-Painters, but then ‘tis ever with the Air of a Fool, and an Unbred Person ;) A Portrait-Painter must understand Mankind, and enter into their Characters, and express their Minds as well as their Faces : And as his Business is chiefly with People of Condition, he must Think as a Gentleman, and a Man of Sense, or ‘twill be impossible to give Such their True, and Proper Resemblances.

But if a Painter of this kind is not oblig’d to take in such a compass of Knowledge as he that paints History, and that the Latter upon Some accounts is the nobler Employment, upon Others the Preference is due to Face-Painting ;

terms translations

portrait painter

Conceptual field(s)

L’ARTISTE → qualités
GENRES PICTURAUX → portrait

L'expression Face Painting n'apparait pas dans la traduction française de 1728.

Conceptual field(s)

GENRES PICTURAUX → portrait
terms translations

Le terme Portrait-Painter n'est pas directement traduit dans la version française de 1728, le traducteur ayant utlisé une forme impersonnelle. Il semble ne pas faire de différence en français entre "Face-Painter" et "Portrait-Painter", à la différence de l'anglais où les deux expressions sont employées en même temps.

face painter

Conceptual field(s)

GENRES PICTURAUX → portrait
L’ARTISTE → qualités

To be a good Face-Painter, a degree of the Historical, and Poetical Genius is requisite, and a great Measure of the other Talents, and Advantages which a good History-Painter must possess : Nay some of them, particularly Colouring, he ought to have in greater Perfection than is absolutely necessary for a History-Painter.
‘Tis not enough to make a Tame, Insipid Resemblance of the Features, so that every body shall know who the Picture was intended for, nor even to make the Picture what is often said to be prodigious Like : (This is often done by the lowest of Face-Painters, but then ‘tis ever with the Air of a Fool, and an Unbred Person ;) A Portrait-Painter must understand Mankind, and enter into their Characters, and express their Minds as well as their Faces : And as his Business is chiefly with People of Condition, he must Think as a Gentleman, and a Man of Sense, or ‘twill be impossible to give Such their True, and Proper Resemblances.

terms translations

Conceptual field(s)

GENRES PICTURAUX → portrait

Add to all this, that the Works of the Face-Painter must be seen in all the Periods of Beginnings, and Progress, as well as when Finish’d, when they are Not, oftner than when they Are fit to be seen, and yet Judg’d of, and Criticis’d upon, as if the Artist had given his last Hand to ‘em, and by all sorts of People ; nor is he always at liberty to follow his Own Judgment.

terms translations

Conceptual field(s)

SPECTATEUR → jugement
GENRES PICTURAUX → portrait

He [ndr : un peintre] must not only have a nice Judgment to distinguish betwixt things nearly Resembling one another, but not the same […], but he must moreover have the same Delicacy in his Eyes to judge of the Tincts of Colours which are of infinite Variety ;

terms translations

Conceptual field(s)

L’ARTISTE → qualités

He [ndr : un peintre] must not only have a nice Judgment to distinguish betwixt things nearly Resembling one another, but not the same […], but he must moreover have the same Delicacy in his Eyes to judge of the Tincts of Colours which are of infinite Variety ; and to distinguish whether a Line be streight, or curv’d a little ; whether This is exactly parallel to That, or oblique, and in what degree ; how This curv’d Line differs from That, if it differs at all, of which he must also judge ; whether what he has drawn is of the same Magnitude with what he pretends to imitate, and the like ;

terms translations

Conceptual field(s)

L’ARTISTE → qualités

He [ndr : un peintre] must not only have a nice Judgment to distinguish betwixt things nearly Resembling one another, but not the same […], but he must moreover have the same Delicacy in his Eyes to judge of the Tincts of Colours which are of infinite Variety ; and to distinguish whether a Line be streight, or curv’d a little ; whether This is exactly parallel to That, or oblique, and in what degree ; how This curv’d Line differs from That, if it differs at all, of which he must also judge ; whether what he has drawn is of the same Magnitude with what he pretends to imitate, and the like ; and must have a Hand exact enough to form these in his Work, answerable to the Ideas he has taken of them.

terms translations

Conceptual field(s)

L’ARTISTE → qualités
terms translations

Conceptual field(s)

L’ARTISTE → qualités
terms translations

Conceptual field(s)

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

Conceptual field(s)

L’ARTISTE → qualités
terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin

‘Twas never thought unworthy of a Gentleman to be Master of the Theory of Painting. On the contrary, if such a one has but a superficial Skill that way, he values himself upon it, and is the more esteem’d by others, as one who has attain’d an Excellency of Mind beyond those that are Ignorant in that particular.

terms translations

Conceptual field(s)

SPECTATEUR → connaissance
L’ARTISTE → règles et préceptes

‘Tis true, the Word Painter does not generally carry with it an Idea equal to what we have of other Professions, or Employments not Superior to it ; the Reason of which is, That Term is appropriated to all sorts of Pretenders to the Art, which being Numerous, and for the most part very Deficient, (as it must needs happen, so few having Abilities and Opportunities equal to such an Undertaking) These consequently have fallen into Contempt ; […] ; and this being visible in a great Majority, it has diminish’d the Idea which ought to be apply’d to the Term I am speaking of ; which therefore is a very Ambiguous one, and should be consider’d as such, if it be extended beyond This, that it denotes one practising such an Art, for no body can tell what he ought to conceive farther of the Man, whether to rank him amongst some of the Meanest, or equal to the most Considerable amongst Men.

terms translations

Conceptual field(s)

L’ARTISTE → qualités

THe whole Art of Painting consists of these Parts.
Invention, Expression, Composition, Drawing, Colouring, Handling, and Grace, and Greatness.
What is meant by these Terms, and that they are Qualities requisite to the Perfection of the Art, and really Distinct from each other, so that no one of ‘em can be fairly imply’d by any other, will appear when I treat of them in their Order ; and this will justify my giving so many Parts to Painting, which some others who have wrote on it have not done.

terms translations

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture

The Art in its whole Extent being too great to be compass’d by any one Man in any tolerable Degree of Perfection, some have apply’d themselves to paint One thing, and some Another : Thus there are Painters of Faces, History, Landscapes, Battels, Drolls, Still-Life, Flowers, and Fruit, Ships, &c. but every one of these several Kinds of Pictures ought to have all the several Parts, or Qualities just now mentioned [ndr : invention, expression, composition, drawing, colouring, handling, grace, greatness].

terms translations

Conceptual field(s)

GENRES PICTURAUX → peinture d’histoire
GENRES PICTURAUX → portrait
GENRES PICTURAUX → scène de genre
GENRES PICTURAUX → paysage
GENRES PICTURAUX → nature morte

The History-Painter is obliged oftentimes to paint all these kinds of Subjects [ndr : visages, histoires, paysages, batailles, sujets grotesques, natures mortes, fleurs, fruits, bateaux, etc.], and the Face-Painter Most of ‘em ; but besides that they in such Cases are allow’d the Assistance of other Hands, the Inferior Subjects are in Comparison of their Figures as the Figures in a Landscape, there is no great Exactness required, or pretended to.

terms translations

Conceptual field(s)

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

Conceptual field(s)

GENRES PICTURAUX → portrait
L’ARTISTE → qualités
terms translations

Conceptual field(s)

GENRES PICTURAUX → peinture d’histoire
L’ARTISTE → qualités
terms translations

Conceptual field(s)

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

Italy has unquestionably produc’d the best Modern Painting, especially of the best Kinds, and posses’d it in a manner alone, when no other Nation in the World had it in any tolerable Degree ; That was Then consequently the great School of Painting. About a hundred Years ago there were a great many Excellent Painters in Flanders ; but when Van-Dyck came Hither, he brought Face-Painting to Us ; ever since which time (that is, for above fourscore Years) England has excell’d all the World in that great Branch of the Art, […] This may justly be esteem’d as a Complete, and the Best School for Face-Painting Now in the World ; and would probably have been yet Better, had Van Dyck’s Model been follow’d : But some Painters possibly finding themselves incapable of succeeding in His Way, and having found their Account in introducing a False Taste, Others have follow’d their Example, and forsaking the Study of Nature, have prostituted a Noble Art, chusing to exchange the honourable Character of good Painters for that sordid one of profess’d, mercenary Flatterers ;

terms translations

Conceptual field(s)

MANIÈRE ET STYLE → école

but when Van-Dyck came Hither, he brought Face-Painting to Us ; ever since which time (that is, for above fourscore Years) England has excell’d all the World in that great Branch of the Art, […] This may justly be esteem’d as a Complete, and the Best School for Face-Painting Now in the World ; and would probably have been yet Better, had Van Dyck’s Model been follow’d : But some Painters possibly finding themselves incapable of succeeding in His Way, and having found their Account in introducing a False Taste, Others have follow’d their Example, and forsaking the Study of Nature, have prostituted a Noble Art, chusing to exchange the honourable Character of good Painters for that sordid one of profess’d, mercenary Flatterers ;

terms translations

Conceptual field(s)

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

Of INVENTION
BEING determined as to the History that is to be painted, the first thing the Painter has do do, is
To make himself Master of it as delivered by Historians, or otherwise ; and then to consider how to Improve it, keeping within the Bounds of Probability. Thus the Ancien Sculptors imitated Nature ; and thus the best Historians have related their Stories.

terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → sujet et choix
CONCEPTION DE LA PEINTURE → composition
terms translations

Conceptual field(s)

L’ARTISTE → qualités
L’HISTOIRE ET LA FIGURE → sujet et choix

The same Liberty of heightning a Story [ndr : que dans le carton de Raphaël représentant Jésus donnant les clés à saint Pierre] is very commonly taken in Pictures of the Crucifixion ; the Blessed Virgin is represented as Swooning away at the Sight, and S. John, and the Women with great propriety dividing their Concern between the two Objets of it, which makes a fine Scene, and a considerable Improvement ; and probably was the Truth, though the History says no such thing.
[…].
An Improvement much of the same Nature is the Angels that are frequently introduced in a Nativity, or on other Occasions, the noble, though not rich Habit of the Virgin, and the like, though perhaps not altogether in the same Degree of Probability.

terms translations

La traduction du terme Improvement n'est pas littérale dans l'édition française de 1728. Le traducteur choisit en effet le terme Grâce, puis celui d'Invention. Dans le premier cas, l'insistance est mise sur la dimension esthétique, ce qui apparaît moins évident dans le texte anglais.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → sujet et choix

Under the present Rule is comprehended all those Incidents which the Painter invents to inrich his Composition ; and here in many Cases he has a vast Latitude, as in a Battel, a Plague, a Fire, the Slaughter of the Innocent, &c. Rafaëlle has finely imagined some of these (for example) in his Picture call’d the Incendio di Borgo. The Story is of a Fire at Rome miraculously extinguish’d by S. Leo IV. Because a Fire is seldom very great but when there happens to be a high Wind, he has painted such a one, as is seen by the flying of the Hair, Draperies, &c. There you see a great many Instances of Distress, and Paternal, and Filial Love.

terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
L’HISTOIRE ET LA FIGURE → sujet et choix

A Painter is allow’d sometimes to depart even from Natural, and Historical Truth.
Thus in the Carton of the Draught of Fishes
Rafaëlle has made a Boat too little to hold the Figures he has plac’d in it ; and this is so visible, that Some are apt to Triumph over that great Man, […] ; but the Truth is, had he made the Boat large enough for those Figures his Picture would have been all Boat, which would have had a Disagreeable Effect ; […].

terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → sujet et choix
EFFET PICTURAL → qualité de la composition
CONCEPTS ESTHETIQUES → convenance, bienséance

But these Liberties [ndr : prises envers la vérité historique et naturelle] must be taken with great Caution and Judgment ; for in the main, Historical, and Natural Truth must be observed, the Story may be embellish’d, or something of it par’d away, but still So as it may be immediately known ; nor must any thing be contrary to Nature but upon great Necessity, and apparent Reason. History must not be corrupted, and turn’d into Fable or Romance : Every Person, and Thing must be made to sustain its proper Character ; and not only the Story, but the Circumstances must be observ’d, the Scene of Action, the Countrey, or Place, the Habits, Arms, Manners, Proportions, and the like, must correspond. This is call’d the observing the Costûme.

terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
terms translations

story

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → sujet et choix
CONCEPTS ESTHETIQUES → convenance, bienséance
CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

history

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → sujet et choix
CONCEPTS ESTHETIQUES → nature, imitation et vrai
CONCEPTS ESTHETIQUES → convenance, bienséance

Every Historical Picture is a Representation of one single point of Time ; This then must be chosen ; and That in the Story which is the most Advantageous must be It. Suppose, for Instance, the Story to be painted is that of the Woman taken in Adultery, the Painter Seems to be at liberty to choose whether he will represent the Scribes and Pharisees accusing her to our Lord ; Or our Lord writing on the Ground ; Or pronouncing the last of the Words, Let him that is among you without Sin cast the first Stone at her ; Or lastly his Absolution, Go thy way, Sin no more.

terms translations

Conceptual field(s)

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

Every Historical Picture is a Representation of one single point of Time ; This then must be chosen ; and That in the Story which is the most Advantageous must be It. Suppose, for Instance, the Story to be painted is that of the Woman taken in Adultery, the Painter Seems to be at liberty to choose whether he will represent the Scribes and Pharisees accusing her to our Lord ; Or our Lord writing on the Ground ; Or pronouncing the last of the Words, Let him that is among you without Sin cast the first Stone at her ; Or lastly his Absolution, Go thy way, Sin no more. […] When our Saviour says the Words, Let him that is without Sin cast the first Stone, He is the principal Actor, and with Dignity ; the Accusers are asham’d, Vex’d, Confounded, and perhaps Clamorous ; and the Accused in a fine Situation, Hope and Joy springing up after Shame, and Fear ; all which affords the Painter an opportunity of exerting himself, and giving a pleasing Variety to the Composition ; For besides the various Passions, and Sentiments naturally arising, the Accusers begin to disperse, which will occasion a fine Contrast in the Attitudes of the Figures, some being in Profile, some Fore-right, and some with their Backs turn’d ; some pressing forward as if they were attentive to what was said, and some going off : And this I should chuse ;

terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude
EFFET PICTURAL → qualité de la composition
terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → sujet et choix
EFFET PICTURAL → qualité de la composition
L’HISTOIRE ET LA FIGURE → action et attitude
terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → expression des passions
CONCEPTION DE LA PEINTURE → composition
terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → expression des passions
CONCEPTION DE LA PEINTURE → composition
terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → sujet et choix
EFFET PICTURAL → qualité de la composition
CONCEPTION DE LA PEINTURE → composition

Every Historical Picture is a Representation of one single point of Time ; This then must be chosen ; and That in the Story which is the most Advantageous must be It. Suppose, for Instance, the Story to be painted is that of the Woman taken in Adultery, the Painter Seems to be at liberty to choose whether he will represent the Scribes and Pharisees accusing her to our Lord ; Or our Lord writing on the Ground ; Or pronouncing the last of the Words, Let him that is among you without Sin cast the first Stone at her ; Or lastly his Absolution, Go thy way, Sin no more. […] When our Saviour says the Words, Let him that is without Sin cast the first Stone, He is the principal Actor, and with Dignity ; the Accusers are asham’d, Vex’d, Confounded, and perhaps Clamorous ; and the Accused in a fine Situation, Hope and Joy springing up after Shame, and Fear ; all which affords the Painter an opportunity of exerting himself, and giving a pleasing Variety to the Composition ; For besides the various Passions, and Sentiments naturally arising, the Accusers begin to disperse, which will occasion a fine Contrast in the Attitudes of the Figures, some being in Profile, some Fore-right, and some with their Backs turn’d ; some pressing forward as if they were attentive to what was said, and some going off : And this I should chuse ; for as to the Last, Tho’ there our Lord pronounces the decisive Sentence, and which is the principal Action, and of the most Dignity in the whole Story, yet Now there was no body left but himself, and the Woman ; the rest were all drop’d off one by one, and the Scene would be disfurnished.

terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude
L’HISTOIRE ET LA FIGURE → sujet et choix

There must be one Principal Action in a Picture. Whatever Under-Actions may be going on in the same instant with That, and which it may be proper to insert, to Illustrate, or Amplify the Composition, they must not divide the Picture, and the Attention of the Spectator.

Nor must the Attention be diverted from what ought to be Principal, by any thing how Excellent soever in it self. Protogenes in the famous Picture of Jalissus had painted a Partridge so exquisitely well, that it seem’d a Living Creature, it was admir’d by all Greece ; but That being most taken notice of, he defaced it entirely. That illustrious Action of Mutius Scævola’s putting his Hand in the Fire, after he had by Mistake kill’d another instead of Porsenna, is sufficient alone to employ his Mind ; Polydore therefore in a Capital Drawing I have of him of that Story, […] has left out the dead Man ; it was sufficiently known that one was kill’d, but that Figure, had it been inserted, would necessarily have diverted the Attention, and destroy’d that noble Simplicity, and Unity which now appears.

terms translations

Conceptual field(s)

EFFET PICTURAL → qualité de la composition
terms translations

Conceptual field(s)

EFFET PICTURAL → qualité de la composition
terms translations

Conceptual field(s)

EFFET PICTURAL → qualité de la composition

Every Action must be represented as done, not only as ‘tis possible it might be perform’d, but in the Best manner. In the Print after Rafaëlle, grav’d by Marc Antonio, you see Hercules gripe Anteus with all the Advantage one can wish to have over an Adversary : […]. Daniele da Volterra has not succeeded so well in his famous Picture of the Descent from the Cross, where one of the Assistants, who stands upon a Ladder drawing out a Nail, is so disposed as is not very Natural, and Convenient for the purpose.

A Painter’s Language is his Pencil, he should neither say too Little, nor too Much, but go directly to his Point, and tell his Story with all possible Simplicity.

terms translations

Conceptual field(s)

L’ARTISTE → qualités

but certainly all the Management in the World cannot put together a great number of Figures, and Ornaments, with that Advantage as a few.
Where the Story requires that there be a Crowd of People, there may be some Figures without any Particular Character, which are not Supernumerary, because the Story requires a Crowd. In the Cartons [ndr : les cartons de Raphaël] there are very few Idle Figures : Nor are all those such that may seem to be so ; there are two in the Carton of S.
Paul Preaching that are walking at a distance amongst the Buildings, but these serve well to intimate that there were some who like Gallio cared for none of these things.

terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → sujet et choix
L’HISTOIRE ET LA FIGURE → groupe

Polydore, in a Drawing I have seen of him, has made an Ill Choice with respect to Decorum ; he has shewn Cato with his Bowels gushing out, which is not only Offensive in itself, but ‘tis a Situation in which Cato should not be seen, ‘tis Indecent ; such things should be left to Imagination, and not display’d on the Stage. But Michelangelo in his last Judgment has sinn’d against this Rule most egregiously.

terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance

There are Pictures representing not one particular Story, but the History of Philosophy, of Poetry, of Divinity, the Redemption of Mankind, and the like : Such is the School of Athens, the Parnassus, the Picture in the Vatican commonly call’d the Dispute of the Sacrament, all of Rafaelle ; and the large one of Frederico Zuccaro of the Annunciation, and God the Father, with a Heaven, the Prophets, &c. Such Compositions as These being of a different nature are not subject to the same Rules with Common Historical Pictures ; but Here must be Principal, and Subordonate Figures, and Actions ; As the Plato and Aristotle in the School of Athens, the Apollo in the Parnassus, &c.
Now I have mention’d this Design, I cannot pass it over without going a little out of my way to observe some Particulars of that Admirable Group of the three Poets,
Homer, Virgil, and Dante ; […].
The Figure of
Homer is an admirably one, and manag’d with great propriety ; He is Group’d with others, but is nevertheless alone :

terms translations

Conceptual field(s)

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

Conceptual field(s)

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

Il semblerait que Richardson s'appuie sur une des nombreuses gravures existantes de l'Annonciation de Frederico Zuccaro. Cette dernière œuvre, une fresque, était conservée à l'église Santa Maria Annunziata (Rome), détruite en 1626. Richardson possédait par ailleurs un dessin préparatoire de la fresque réalisé par Zuccaro (voir à ce propos, L. Hamlett, « Italian Baroque Art (Rhetoric, Sublimity) and its British Translations », dans C. van Eyck, Translations of the Sublime: The Early Modern Reception and Dissemination of Longinus' Peri Hupsous in Rhetoric, the Visual Arts, Architecture and the Theatre, 2012, p. 190).

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → sujet et choix

In all these kinds of Pictures [ndr : images représentant la vie humaine, un trait de caractère d’un individu ou dont le but est de donner une leçon particulière] the Painter should avoid too great a Luxuriancy of Fancy, and Obscurity. The Figures representing any Virtue, Vice, or other Quality, should have such Insignia as are authoriz’d by Antiquity, and Custom ; or if any be necessarily of his Own Invention, his Meaning should be apparent. […]. There are fine Examples of these in the Palace of Chigi, or the little Farnese in Rome ; Rafaëlle has there painted the Fable of Cupid and Psyche, and intermix’d little Loves with the Spoils of all the Gods ; and lastly one with a Lyon, and a Sea-Horse, which he governs as with a Bridle, to shew the Universal Empire of Love.

terms translations

In Portraits the Invention of the Painter is exercised in the Choice of the Air, and Attitude, the Action, Drapery, and Ornaments, with respect to the Character of the Person.
He ought not to go in a Road, or paint other People as he would choose to be drawn himself. The Dress, the Ornaments, the Colours, must be suited to the Person, and Character.

terms translations

Conceptual field(s)

GENRES PICTURAUX → portrait
L’HISTOIRE ET LA FIGURE → sujet et choix
terms translations

Conceptual field(s)

GENRES PICTURAUX → portrait
L’HISTOIRE ET LA FIGURE → sujet et choix

Many Painters have taken a Fancy to make Caricaturaes of People’s Faces, that is, Exaggerating the Defects, and Concealing the Beauties, however preserving the Resemblance ; the Reverse of That is to be done in the Present Case, but the Character must be seen throughout, or it ceases to be a Compliment ; ’Tis the Picture of Somebody else, or of Nobody, and only tells the Person how different He, or She is from what the Painter conceives to be Beauty.

terms translations

Conceptual field(s)

GENRES PICTURAUX → portrait
CONCEPTS ESTHETIQUES → beauté, grâce et perfection
terms translations

Conceptual field(s)

GENRES PICTURAUX → portrait

I need not go through the other Branches of Painting ; as Landscapes, Battels, Fruit, &c. what has been already said is (Mutatis mutantis) applicable to any of These

terms translations

Conceptual field(s)

GENRES PICTURAUX → genres (généralités)

There are an Infinity of Artifices to Hide Defects, or Give Advantages, which come under this Head of Invention ; as does all Caprices, Grotesque, and other Ornaments, Masks, &c. together with all Uncommon, and Delicate Thoughts : such as the Cherubims attending on God when he appeared to Moses in the Burning Bush, which Rafaëlle has painted with Flames about them instead of Wings ;

terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → sujet et choix
L’HISTOIRE ET LA FIGURE → ornement
terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → ornement
terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → ornement
terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → ornement
terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → ornement

The Anatomy Figures in Vesalius said to be design’d by Titian, are prettily fancied : There is a Series of denuding a Figure to the Bone, and they are all in Attitudes seeming to have most Pain as the Operation goes on, till at last they Languish, and Dye : But Michelangelo has made Anatomy Figures whose Faces and Actions are impossible to be describ’d, and the most delicate that can be imagin’d for the purpose.

terms translations

Conceptual field(s)

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

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps

Of EXPRESSION
Whatever the general Character of the Story is, the Picture must discover it throughout, whether it be Joyous, Melancholy, Grave, Terrible, &c. The Nativity, Resurrection, and Ascension ought to have the General Colouring, the Ornaments, Background, and every thing in them Riant, and Joyous, and the contrary in a Crucifixion, Interment, or a Pietà. [The Blessed Virgin with the dead Christ]. [...] I have seen a fine Instance of a Colouring proper for Melancholy Subjects in a Pietà of Van-Dyck : That alone would make one not only Grave, but sad at first Sight ; And a Colour’d Drawing that I have of the Fall of Phaëton after Giulio Romano, shews how much This contributes to the Expression. ‘Tis different from any Colouring that ever I saw, and admirably adapted to the Subject, there is a Reddish Purple Tinct spread throughout, as if the World was all invelopp’d in Smould’ring Fire.

terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur

Of EXPRESSION
Whatever the general Character of the Story is, the Picture must discover it throughout, whether it be Joyous, Melancholy, Grave, Terrible, &c. The Nativity, Resurrection, and Ascension ought to have the General Colouring, the Ornaments, Background, and every thing in them Riant, and Joyous, and the contrary in a Crucifixion, Interment, or a Pietà. [The Blessed Virgin with the dead Christ]. [...] I have seen a fine Instance of a Colouring proper for Melancholy Subjects in a Pietà of Van-Dyck : That alone would make one not only Grave, but sad at first Sight ; And a Colour’d Drawing that I have of the Fall of Phaëton after Giulio Romano, shews how much This contributes to the Expression. ‘Tis different from any Colouring that ever I saw, and admirably adapted to the Subject, there is a Reddish Purple Tinct spread throughout, as if the World was all invelopp’d in Smould’ring Fire.

terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
CONCEPTION DE LA PEINTURE → couleur

Of EXPRESSION
Whatever the general Character of the Story is, the Picture must discover it throughout, whether it be Joyous, Melancholy, Grave, Terrible, &c. The Nativity, Resurrection, and Ascension ought to have the General Colouring, the Ornaments, Background, and every thing in them Riant, and Joyous, and the contrary in a Crucifixion, Interment, or a Pietà. [The Blessed Virgin with the dead Christ].
But a Distinction must be made between Grave, and Melancholy, as in a Holy Family (of
Rafaëlle’s Design at least) which I have, and has been mention’d already ; the Colouring is Brown, and Solemn, but yet all together the Picture has not a Dismal Air, but quite otherwise. […] There are certain Sentiments of Awe, and Devotion which ought to be rais’d by the first Sight of Pictures of that Subject, which that Solemn Colouring contributes very much to, but not the more Bright, though upon other Occasions preferable.
I have seen a fine Instance of a Colouring proper for Melancholy Subjects in a Pietà of Van-Dyck : That alone would make one not only Grave, but sad at first Sight ; And a Colour’d Drawing that I have of the Fall of Phaëton after Giulio Romano, shews how much This contributes to the Expression. ‘Tis different from any Colouring that ever I saw, and admirably adapted to the Subject, there is a Reddish Purple Tinct spread throughout, as if the World was all invelopp’d in Smould’ring Fire.

terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
L’HISTOIRE ET LA FIGURE → sujet et choix
CONCEPTS ESTHETIQUES → convenance, bienséance
terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
CONCEPTS ESTHETIQUES → convenance, bienséance
L’HISTOIRE ET LA FIGURE → sujet et choix

The Robes, and other Habits of the Figures ; their Attendants, and Ensigns of Authority, or Dignity, as Crowns, Maces, &c. help to express their Distinct Characters ; and commonly even their Place in the Composition. The Principal Persons, and Actors must not be put in a Corner, or towards the Extremities of the Picture, unless the Necessity of the Subject requires it. A Christ, or an Apostle must not be dress’d like an Artificer, or a Fisherman ; a Man of Quality must be distinguish’d from one of the Lower Orders of Men, as a Well-bred Man always is in Life from a Peasant. And so of the rest.
Every body knows the common, or ordinary Distinctions by Dress ; but there is one Instance of a particular kind which I will mention, as being likely to give useful Hints to this purpose, and moreover very curious. In the Carton of Giving the Keys to S.
Peter, Our Saviour is wrapt only in on large piece of white Drapery, his Left Arm, and Breast, are part of his Legs naked ; which undoubtedly was done to denote him Now to appear in his Resurrection-Body, and not as before his Crucifixion, when This Dress would have been altogether improper. And this is the more remarkable, as having been done upon second Thoughts, and after the Picture was perhaps finish’d, which I know by having a Drawing of this Carton, very old, and probably made in Rafaëlle’s time, tho’ not of his hand, where the Christ is fully Clad ; he has the very same large Drapery, but one under it that covers his Breast, Arm, and Legs down to the Feet. Every thing else is pretty near the same with the Carton.

terms translations

dress · robe · habit

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis
CONCEPTS ESTHETIQUES → convenance, bienséance
terms translations

drapery · habit · robe

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis
CONCEPTS ESTHETIQUES → convenance, bienséance
terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
L’HISTOIRE ET LA FIGURE → vêtements et plis

Every Figure, and Animal must be affected in the Picture as one should suppose they Would, or Ought to be. And all the Expressions of the several Passions, and Sentiments must be made with regard to the Characters of the Persons moved in them. At the Raising of Lazarus, some may be allow’d to be made to hold something before their Noses, and this would be very just, to denote That Circumstance in the Story, the Time he had been dead ; but this is exceedingly improper in the laying our Lord in the Sepulchre, altho’ he had been dead much longer than he was ; however Pordenone has done it.

terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → expression des passions
CONCEPTS ESTHETIQUES → convenance, bienséance
terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
L’HISTOIRE ET LA FIGURE → expression des passions
terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → expression des passions
CONCEPTS ESTHETIQUES → convenance, bienséance
terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → expression des passions
CONCEPTS ESTHETIQUES → convenance, bienséance

Polydore, in a Drawing of the same Subject [ndr : la descente de la croix] […] has finely express’d the Excessive Grief the Virgin, by intimating ‘twas Otherwise Inexpressible : Her Attendants discover abundance of Passion, and Sorrow in their Faces, but Hers is hid by Drapery held up by both her Hands : The whole Figure is very Compos’d, and Quiet ; no Noise, no Outrage, but great Dignity appears in her, suitable to her Character.

terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → expression des passions
CONCEPTS ESTHETIQUES → convenance, bienséance
terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
L’HISTOIRE ET LA FIGURE → expression des passions

In that admirable Carton of S. Paul preaching, the Expressions are very just, and delicate throughout : Even the Back-Ground is not without its Meaning ; ‘tis Expressive of the Superstition S. Paul was preaching against.

terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → expression des passions
terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → expression des passions

The Airs of the Heads in my Holy Family of Rafaëlle are perfectly fine, according to the several Characters ; that of the Blessed Mother of God has all the Sweetness, and Goodness that could possibly appear in her self ; what is particularly remarkable is that the Christ, and the S. John are both Boys, but the latter is apparently Humane, the other, as it ought to be, Divine.

terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → expression des passions
CONCEPTS ESTHETIQUES → convenance, bienséance

In Portraits it must be seen whether the Person is Grave, Gay, a Man of Business, or Wit, Plain, Gentile, &c. Each Character must have an Attitude, and Dress ; the Ornaments and Back-Ground proper to it : Every part of the Portrait, and all about it must be Expressive of the Man, and have a Resemblance as well as the Features of the Face.

terms translations

Conceptual field(s)

GENRES PICTURAUX → portrait
CONCEPTS ESTHETIQUES → convenance, bienséance
L’HISTOIRE ET LA FIGURE → expression des passions
terms translations

Conceptual field(s)

GENRES PICTURAUX → portrait
CONCEPTS ESTHETIQUES → convenance, bienséance

Robes, or other Marks of Dignity, or of a Profession, Employment, or Amusement, a Book, a Ship, a Favourite Dog, or the like, are Historical Expressions common in Portraits, which must be mention’d on this occasion ;

terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → ornement
GENRES PICTURAUX → portrait
terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → ornement
GENRES PICTURAUX → portrait

The truth is, ‘tis a little choquing to see such a Mixture of Antique, and Modern Figures, of Christianity, and Heathenism in the same Pictures [ndr : Le cycle de Marie de Médicis par Rubens] ; but this is much owing to its Novelty. […] He had moreover Another very good Reason for what he did on this Occasion : The Stories he had to paint were Modern, and the Habits, and Ornaments must be so too, which would not have had a very agreeable effect in Painting : These Allegorical Additions make a wonderful Improvement ; they vary, enliven, and enrich the Work ; as any one may perceive that will imagine the Pictures as they must have been, had Rubens been terrified by the Objections which he certainly must have foreseen would be made afterwards, and so had left all these Heathen Gods, and Goddesses, and the rest of the Fictitious Figures out of the Composition.

terms translations

Conceptual field(s)

EFFET PICTURAL → qualité de la composition
L’HISTOIRE ET LA FIGURE → sujet et choix
terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → ornement
L’HISTOIRE ET LA FIGURE → sujet et choix
terms translations

Conceptual field(s)

EFFET PICTURAL → qualité de la composition
L’HISTOIRE ET LA FIGURE → sujet et choix

I will add but one way of Expression more, and that is, plain Writing.
Polygnotos, in the Paintings made by him in the Temple of Delphos, wrote the Names of those whom he represented.
The old
Italian, and German Masters improv’d upon this ; the Figures they made were Speaking Figures, they had Labels coming out of their Mouths with that written in them which they were intended to be made to say ; but even Rafaëlle, and Annibale Carracci, have condescended to Write rather than leave any Ambiguity, or Obscurity in their Work : Thus the Name of Sappho is written to shew ‘twas She, and not one of the Muses intended in the Parnassus : And in the Gallery Farnese, that Anchises might not be mistaken for Adonis, Genus unde Latinum was written.

terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → sujet et choix

Of COMPOSITION
THIS is putting together for the Advantage of the Whole, what shall be judg’d Proper to be the several Parts of a Picture ; either as being Essential to it, or because they are thought necessary for the common Benefit : And moreover, the Determination of the Painter as to certain Attitudes, and Colours which are Otherwise Indifferent.
The Composition of a Picture is of Vast Consequence to the Goodness of it ; ‘Tis what first of all presents it self to the Eye, and prejudices us in Favour Of, or with the Aversion To it ; ‘tis This that directs us to the Ideas that are to be convey’d by the Painter, and in what Order ; and the Eye is Delighted with the Harmony at the same time as the Understanding is Improv’d. Whereas This being Ill, tho’ the several Parts are Fine, the Picture is Troublesome to look upon, and like a Book in which are many Good Thoughts, but flung in confusedly, and without Method.

terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
SPECTATEUR → perception et regard
terms translations

Conceptual field(s)

EFFET PICTURAL → qualité de la composition
SPECTATEUR → perception et regard

Every Picture should be so contriv’d, as that at a Distance, when one cannot discern what Figures there are, or what they are doing, it should appear to be composed of Masses, Light, and Dark ; the Latter of which serve as Reposes to the Eye. The Forms of These Masses must be Agreeable, of whatsoever they consist, Ground, Trees, Draperies, Figures, &c. and the Whole together should be Sweet, and Delightful, Lovely Shapes and Colours without a Name ; of which there is an infinite Variety.
And ‘tis not enough that there be Great Masses ; they must be Subdivised into Lesser Parts, or they will appear Heavy, and Disagreeable : Thus tho’ there is evidently a Broad Light (for Example) in a piece of Silk when covering a whole Figure, or a Limb, there may be Lesser Folds, Breakings, Flickerings, and Reflections, and the Great Mass yet evidently preserv’d.

terms translations

Conceptual field(s)

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

Conceptual field(s)

EFFET PICTURAL → qualité de la composition
SPECTATEUR → perception et regard
terms translations

Conceptual field(s)

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

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
EFFET PICTURAL → qualité de la composition
SPECTATEUR → perception et regard
terms translations

Conceptual field(s)

EFFET PICTURAL → qualité de la composition
SPECTATEUR → perception et regard

Every Picture should be so contriv’d, as that at a Distance, when one cannot discern what Figures there are, or what they are doing, it should appear to be composed of Masses, Light, and Dark ; the Latter of which serve as Reposes to the Eye. The Forms of These Masses must be Agreeable, of whatsoever they consist, Ground, Trees, Draperies, Figures, &c. and the Whole together should be Sweet, and Delightful, Lovely Shapes and Colours without a Name ; of which there is an infinite Variety.

terms translations

Conceptual field(s)

SPECTATEUR → perception et regard
EFFET PICTURAL → qualité de la composition
terms translations

Conceptual field(s)

SPECTATEUR → perception et regard
EFFET PICTURAL → qualité de la composition

Sometimes one Mass of Light is upon a dark Ground, and then the Extremities of the Light must not be too near the edges of the Picture, and its greatest Strength must be towards the Centre ; […].
I have a Painting of the Holy Family by
Rubens of this Structure ; where, because the Mass of Light in one part would else have gone off too abruptly, and have made a less pleasing Figure, he has set the Foot of S. Elizabeth on a little Stool ; here the Light catches, and spreads the Mass so as to have the desired effect. Such another Artifice Rafaëlle has used in a Madonna, […] ; He has brought in a kind of an Ornament to a Chair for no other end (that I can imagine) but to form the Mass agreeably.

I have many times observ’d with a great deal of Pleasure the admirable Composition (besides other Excellencies) of a Fruit-piece of Michelangelo Compadoglio, which I have had many Years. The principal Light is near the Centre (not Exactly there, for those Regularities have an ill effect ;) and the Transition from thence, and from one thing to another, to the Extremities of the Picture all round is very Easy, and Delightful ; in which he has employ’d fine Artifices by Leaves, Twigs, little Touches of Lights striking advantageously, and the like. So that there is not a Stroke in the Picture without its Meaning ; and the whole, tho’ very Bright, and consisting of a great many Parts, has a wonderful Harmony, and Repose.

terms translations

Conceptual field(s)

GENRES PICTURAUX → nature morte
EFFET PICTURAL → qualité de la lumière
terms translations

Conceptual field(s)

terms translations

Conceptual field(s)

EFFET PICTURAL → qualité de la lumière
terms translations

Conceptual field(s)

Sometimes the Structure of a Picture, or the Tout-Ensemble of its Form, shall resemble dark Clouds on a Light Ground ; As in two Assumptions of the Virgin by Bolswert after Rubens ; indeed a part of These are such Clouds : But in both of them the Figures of these Masses are something too Indistinct. Le Brun in a Ceiling of the same Subject, grav’d, by young Simconneau, has put a Group of Angels, which almost hide the cloudy Voiture of the Virgin ; but this mass is too Regular, and Heavy a Shape.

terms translations

Conceptual field(s)

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

terms translations

Conceptual field(s)

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

There are Instances where two Masses ; a Light, and a Dark one, divide the Picture, each possessing One Side. I have of This sort by Rubens, and as fine a Composition as can be seen ; the Masses are so well Rounded, the Principal Light being near the Middle of the Bright One, and the Other having Subordinate Lights upon it so as to Connect, but not to Confound it with the rest ; and they are in agreeable Shapes, and melting into One Another, but nevertheless sufficiently determined.
Very commonly a Picture consists of a Mass of Light, and another of Shadow upon a Ground of a Middle Tinct. And sometimes ‘tis composed of a Mass of Dark at the bottom, another Lighter above that, and another for the upper part still Lighter ; (as usually in a Landscape) Sometimes the Dark Mass employs one Side of the Picture also.

terms translations

shadow

Conceptual field(s)

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

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
CONCEPTION DE LA PEINTURE → lumière
GENRES PICTURAUX → paysage
terms translations

Conceptual field(s)

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

dark

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
CONCEPTION DE LA PEINTURE → composition

There are Instances where two Masses ; a Light, and a Dark one, divide the Picture, each possessing One Side. I have of This sort by Rubens, and as fine a Composition as can be seen ; the Masses are so well Rounded, the Principal Light being near the Middle of the Bright One, and the Other having Subordinate Lights upon it so as to Connect, but not to Confound it with the rest ; and they are in agreeable Shapes, and melting into One Another, but nevertheless sufficiently determined.
Very commonly a Picture consists of a Mass of Light, and another of Shadow upon a Ground of a Middle Tinct. And sometimes ‘tis composed of a Mass of Dark at the bottom, another Lighter above that, and another for the upper part still Lighter ; (as usually in a Landscape) Sometimes the Dark Mass employs one Side of the Picture also.
I have a Copy after Paolo Veronese where a large Group of Figures, the principal ones of the Story, compose this lower brown Mass ; Architecture, the second ; more Buildings, with Figures and the Sky, the third ; but most commonly in Pictures of Three Masses, the Second is the Place of the Principal Figures.

terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition

As the Tout-ensemble of a Picture must be Beautiful in its Masses, so must it be as to its Colours. And as what is Principal must be (Generally speaking) the most Conspicuous, the Predominant Colours of That should be diffus’d throughout the Whole. This Rafaëlle has observ’d remarkably in the Carton of S. Paul Preaching ; His Drapery is Red, and Green, and These Colours are scatterr’d every where ; but Judiciously ; for Subordinate Colours as well as Subordinate Lights serve to Soften, and Support the Principal ones, which Otherwise would appear as Spots, and consequently be Offensive.

terms translations

Conceptual field(s)

terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
terms translations

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs

In a Figure, and every part of a Figure, and indeed in every thing else there is One part which must have a peculiar Force, and be manifestly distinguish’d from the rest, all the Other parts of Which must also have a due Subordination to It, and to One Another. The same must be observ’d in the Composition of an entire Picture ; And this Principal, Distinguis’d part ought (Generally speaking) to be the Place of the Principal Figure, and Action : And Here every thing must be higher Finish’d, the Other parts must be Less so Gradually.
Pictures should be like Bunches of Grapes, but they must not resemble a great many single Grapes scatter’d on a Table ; there must not be many little Parts of an Equal Strength, and detach’d from one another, which is as odious to the Eye as ‘tis to the Ear to hear many People talking to you at once. Nothing must Start, or be too strong for the Place where it is as in a Confort of Musick when a Note is too high, or an Instrument out of Tune ; but a sweet Harmony and Repose must result from all the Parts judiciously put together, and united with each other.

terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
terms translations

Conceptual field(s)

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

Conceptual field(s)

terms translations

Conceptual field(s)

EFFET PICTURAL → qualité de la composition
terms translations

Conceptual field(s)

Ananias is the Principal Figure in the Carton which gives the History of his Death ; as the Apostle that pronounces his Sentence is of the Subordinate Group, which consists of Apostles. (Which therefore is Subordinate Group, because the Principal Action relates to the Criminal, and thither the Eye is directed by almost all the Figures in the Picture.) S. Paul is the chief Figure in that Carton where he is Preaching, and amongst his Auditors One is eminently distinguish’d, who is Principal of that Group ; and is apparently a Believer, and More so than any of them, or he had not had that Second Place in a Picture conducted by so great a Judgment as that of Rafaëlle’s. These Principal, and Subordinate Groupes, and Figures, are so apparent, that the Eye will naturally fix first upon one, then upon the other, and consider each in Order, and with Delight.

terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → groupe

And sometimes the Painter happens to be Obliged to put a Figure in a Place, and with a Degree of Force which does not sufficiently distinguish it. In that Case, the Attention must be awakened by the Colour of its Drapery, or a Part of it, or by the Ground on which ‘tis painted, or some other Artifice.
Scarlet, or some Vivid Colour, is very proper on such Occasions : I think I have met with an Instance of This kind from
Titian, in a Bacchus and Ariadne ; Her Figure is Thus distinguish’d for the reason I have given.

terms translations

Conceptual field(s)

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

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
EFFET PICTURAL → qualité des couleurs
terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
L’HISTOIRE ET LA FIGURE → vêtements et plis

In a Composition, as well as in every Single Figure, or other part of which the Picture consists, one thing must Contrast, or be varied from another.

terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
EFFET PICTURAL → qualité des couleurs
terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
EFFET PICTURAL → qualité des couleurs

In a Composition, as well as in every Single Figure, or other part of which the Picture consists, one thing must Contrast, or be varied from another. Thus in a Figure, the Arms and Legs must not be placed to answer one another in Parallel Lines. In like manner if one Figure in a Composition Stands, another must Bend, or Lye on the Ground ; and of those that Stand, or are in any other Position, if there be several of them, they must be varied by Turns of the Head, or some other Artful Disposition of their Parts ; as may be seen (for instance) in the Carton of giving the Keys. The Masses must also have the like Contrast, two must not be alike in Form, or Size, nor the whole Mass compos’d of those lesser ones of too Regular a Shape. [...] All which, together with several other Particulars, produce a wonderful Harmony.

terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition

In a Composition, as well as in every Single Figure, or other part of which the Picture consists, one thing must Contrast, or be varied from another. Thus in a Figure, the Arms and Legs must not be placed to answer one another in Parallel Lines. In like manner if one Figure in a Composition Stands, another must Bend, or Lye on the Ground ; and of those that Stand, or are in any other Position, if there be several of them, they must be varied by Turns of the Head, or some other Artful Disposition of their Parts ; as may be seen (for instance) in the Carton of giving the Keys. The Masses must also have the like Contrast, two must not be alike in Form, or Size, nor the whole Mass compos’d of those lesser ones of too Regular a Shape. The Colours must be also Contrasted, and Oppos’d, so as to be grateful to the Eye : There must not (for example) be two Draperies in one Picture of the same Colour, and Strength, unless they are contiguous, and then they are but as one. If there be two Reds, Blews, or whatever other Colour, One must be of a Darker, or Paler Tinct, or be some way Varied by Lights, Shadows, of Reflections. Rafaëlle, and others have made great Advantage of Changeable Silks to unite the Contrasting Colours, as well as to make a part of the Contrast themselves. As in the Carton of Giving the Keys, the Apostle that stands in Profile, and immediately behind S. John, has a Yellow Garment with Red Sleeves, which connects that Figure with S. Peter, and S. John, whose Draperies are of the same Species of Colours. Then the same Anonymous Apostle has a loose changeable Drapery, the Lights of which are a Mixture of Red, and Yellow, the other Parts are Bluish. This Unites it self with the Other Colours already mentioned, and with the Blew Drapery of another Apostle which follows afterwards ; between which, and the changeable Silk is a Yellow Drapery something different from the other Yellows, but with Shadows bearing upon the Purple, as those of the Yellow Drapery of S. Peter incline to the Red : All which, together with several other Particulars, produce a wonderful Harmony.

terms translations

Conceptual field(s)

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

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
CONCEPTION DE LA PEINTURE → composition

The Colours must be also Contrasted, and Oppos’d, so as to be grateful to the Eye : There must not (for example) be two Draperies in one Picture of the same Colour, and Strength, unless they are contiguous, and then they are but as one. If there be two Reds, Blews, or whatever other Colour, One must be of a Darker, or Paler Tinct, or be some way Varied by Lights, Shadows, of Reflections. Rafaëlle, and others have made great Advantage of Changeable Silks to unite the Contrasting Colours, as well as to make a part of the Contrast themselves. As in the Carton of Giving the Keys, the Apostle that stands in Profile, and immediately behind S. John, has a Yellow Garment with Red Sleeves, which connects that Figure with S. Peter, and S. John, whose Draperies are of the same Species of Colours. Then the same Anonymous Apostle has a loose changeable Drapery, the Lights of which are a Mixture of Red, and Yellow, the other Parts are Bluish. This Unites it self with the Other Colours already mentioned, and with the Blew Drapery of another Apostle which follows afterwards ; between which, and the changeable Silk is a Yellow Drapery something different from the other Yellows, but with Shadows bearing upon the Purple, as those of the Yellow Drapery of S. Peter incline to the Red : All which, together with several other Particulars, produce a wonderful Harmony.

terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur

Tho’ a Mass may consist of a Number of Little Parts, there ought to be one, or more, Larger, and as it were governing the rest, and this is another sort of Contrast. My Lord Burlington has a Good Samaritan by Bassau, which is a fine Instance of This. In the same Picture, there are two knees of two several Figures, pretty near together, and the Legs and Thighs of which make Angles too much alike, but this is contracted by one being Naked, and the other Clad, and over the latter, a little sort of Sash falls, which is an additional Expedient.

terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition

This important piece of Drapery preserves the Mass of Light upon that Figure [ndr : il s’agit de la draperie de saint Paul dans le carton de Saint Paul prêchant à Athènes par Raphaël], but varies it, and gives it an agreeable Form, whereas without it the whole Figure would have been Heavy, and Disagreeable ; but there was no danger of that in Rafaëlle. There is another piece of Drapery in the Carton of Giving the Keys, which is very Judiciously flung in ; The three outmost Figures at the End of the Picture, (the contrary to that where our Lord is) made a Mass of Light of a Shape not very pleasing, till that knowing Painter struck in a part of the Garment of the last Apostle in the Group as folded under his Arm, this breaks the streight Line, and gives a more grateful Form to the whole Mass ;

The Masters to be studied for Composition are Rafaëlle, Rubens and Rembrandt most especially, tho’ many others are worthy notice, and to be carefully consider’d ; amongst which V. Velde ought not to be forgottten, who tho’ his Subjects were Ships, which consisting of so many little parts, are very difficult to fling into great Masses, has done it, by the help of spread Sails, Smoak, and the Bodies of the Vessels, and a judicious Management of Lights and Shadows. So that His Compositions are many times as good as those of any Master.

terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition

DESIGN or DRAWING
By these Terms is sometimes understood the expressing our Thoughts upon Paper, or whatever other flat Superficies ; and that by Resemblances form’d by a Pen, Crayon, Chalk, or the like. But more commonly, The giving the Just Form, and Dimension of Visible Objects, according as they appear to the Eye ; if they are pretended to be describ’d in their Natural Dimensions ; If Not, but Bigger, or Lesser, then Drawing, or Designing signifies only the giving those Things their true Form, which implies an exact proportionable Magnifying, or Diminishing in every part alike
And this comprehends also giving the true Shapes, Places, and even Degrees of Lights, Shadows, and Reflections ; because if these are not right, if the thing has not its due Force, or Relief, the true Form of what is pretended to be drawn cannot be given : These shew the Out-Line all round, and in every part, as well as where the Object is terminated on its Back-Ground.

In a Composition of several Figures, or whatever other Bodies, if the Perspective is not just the Drawing of that Composition is false. This therefore is also imply’d by this Term. That the Perspective must be observ’d in the Drawing of a Single Figure cannot be doubted.
I know
Drawing is not commonly understood to comprehend the Clair-obscure, Relief, and Perspective, but it does not follow however that what I advance is not right.

terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
EFFET PICTURAL → perspective
terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin

DESIGN or DRAWING
By these Terms is sometimes understood the expressing our Thoughts upon Paper, or whatever other flat Superficies ; and that by Resemblances form’d by a Pen, Crayon, Chalk, or the like. But more commonly, The giving the Just Form, and Dimension of Visible Objects, according as they appear to the Eye ; if they are pretended to be describ’d in their Natural Dimensions ; If Not, but Bigger, or Lesser, then Drawing, or Designing signifies only the giving those Things their true Form, which implies an exact proportionable Magnifying, or Diminishing in every part alike
And this comprehends also giving the true Shapes, Places, and even Degrees of Lights, Shadows, and Reflections ; because if these are not right, if the thing has not its due Force, or Relief, the true Form of what is pretended to be drawn cannot be given : These shew the Out-Line all round, and in every part, as well as where the Object is terminated on its Back-Ground.

terms translations

Conceptual field(s)

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

Conceptual field(s)

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

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
CONCEPTION DE LA PEINTURE → lumière

DESIGN or DRAWING
By these Terms is sometimes understood the expressing our Thoughts upon Paper, or whatever other flat Superficies ; and that by Resemblances form’d by a Pen, Crayon, Chalk, or the like. But more commonly, The giving the Just Form, and Dimension of Visible Objects, according as they appear to the Eye ; if they are pretended to be describ’d in their Natural Dimensions ; If Not, but Bigger, or Lesser, then Drawing, or Designing signifies only the giving those Things their true Form, which implies an exact proportionable Magnifying, or Diminishing in every part alike
And this comprehends also giving the true Shapes, Places, and even Degrees of Lights, Shadows, and Reflections ; because if these are not right, if the thing has not its due Force, or Relief, the true Form of what is pretended to be drawn cannot be given : These shew the Out-Line all round, and in every part, as well as where the Object is terminated on its Back-Ground.

In a Composition of several Figures, or whatever other Bodies, if the Perspective is not just the Drawing of that Composition is false. This therefore is also imply’d by this Term. That the Perspective must be observ’d in the Drawing of a Single Figure cannot be doubted.
I know
Drawing is not commonly understood to comprehend the Clair-obscure, Relief, and Perspective, but it does not follow however that what I advance is not right.
But if the Out-Lines are only mark’d, this also is Drawing ; ‘tis giving the true Form of what is pretended to, that is, the Out-Line.
The Drawing in the latter, and most common Sense ;
besides that it must be Just, must be pronounced Boldly, Clearly, and without Ambiguity : Consequently, neither the Out-Lines, nor the Forms of the Lights, and Shadows must be Confus’d, and Uncertain, or Wooly (as Painters call it) upon pretence of Softness ; nor on the other hand may they be Sharp, Hard, or Dry ; for either of these are Extreams ; Nature lies between them.

terms translations

drawing · designing

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

drawing · designing

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

design · drawing

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

design · designing

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

design · designing

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
terms translations

Conceptual field(s)

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

But if the Out-Lines are only mark’d, this also is Drawing ; ‘tis giving the true Form of what is pretended to, that is, the Out-Line.
The Drawing in the latter, and most common Sense ;
besides that it must be Just, must be pronounced Boldly, Clearly, and without Ambiguity : Consequently, neither the Out-Lines, nor the Forms of the Lights, and Shadows must be Confus’d, and Uncertain, or Wooly (as Painters call it) upon pretence of Softness ; nor on the other hand may they be Sharp, Hard, or Dry ; for either of these are Extreams ; Nature lies between them.

terms translations

Conceptual field(s)

EFFET PICTURAL → qualité du dessin
terms translations

Conceptual field(s)

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

Conceptual field(s)

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

Conceptual field(s)

EFFET PICTURAL → qualité du dessin

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
EFFET PICTURAL → qualité des couleurs

Conceptual field(s)

EFFET PICTURAL → qualité du dessin

So neither are there two Men, nor two Faces, no, not two Eyes, Foreheads, Noses, or any other Features : Nay farther, there is not two Leaves, tho’ of the same Species, perfectly alike.
A Designer therefore must consider, when he draws after Nature, that his Business is to describe That very Form, as distinguish’d from every other Form in the Universe.
In order to give this Just Representation of Nature […] I say in order to follow Nature exactly, a Man must be well acquainted with Nature, and have a reasonable Knowledge of Geometry, Proportion, (which must be varied according to the Sex, Age, and Quality of the Person) Anatomy, Osteology, and Perspective. I will add to these an Acquaintance with the Works of the best Painters, and Sculptors, Ancient, and Modern : For ‘tis a certain Maxim, No Man sees what things Are, that knows not what they Ought to be.
That this Maxim is true, will appear by an Academy Figure drawn by one ignorant in the Structure, and knitting of the Bones, and Anatomy, compar’d with another who understands these throughly :

terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

Conceptual field(s)

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

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
CONCEPTS ESTHETIQUES → convenance, bienséance

In order to give this Just Representation of Nature […] I say in order to follow Nature exactly, a Man must be well acquainted with Nature, and have a reasonable Knowledge of Geometry, Proportion, (which must be varied according to the Sex, Age, and Quality of the Person) Anatomy, Osteology, and Perspective. I will add to these an Acquaintance with the Works of the best Painters, and Sculptors, Ancient, and Modern : For ‘tis a certain Maxim, No Man sees what things Are, that knows not what they Ought to be.
That this Maxim is true, will appear by an Academy Figure drawn by one ignorant in the Structure, and knitting of the Bones, and Anatomy, compar’d with another who understands these throughly :

terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
L’ARTISTE → apprentissage
CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

Conceptual field(s)

L’ARTISTE → apprentissage
CONCEPTS ESTHETIQUES → nature, imitation et vrai
L’HISTOIRE ET LA FIGURE → figure et corps

When a Painter intends to make a History (for example) the way commonly is to design the thing in his Mind, to consider what Figures to bring in, and what they are to Think, Say, or Do ; and then to Sketch upon Paper this Idea of his ; and not only the Invention, but Composition of his intended Picture : This he may alter upon the same Paper, or by making other Sketches, till he is pretty well determin’d as to that ; (and this is that first Sense in which I said the Term Drawing, or Designing was to be understood.)

terms translations

drawing

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
GENRES PICTURAUX → peinture d’histoire
terms translations

Conceptual field(s)

GENRES PICTURAUX → peinture d’histoire
terms translations

Conceptual field(s)

GENRES PICTURAUX → peinture d’histoire

When a Painter intends to make a History (for example) the way commonly is to design the thing in his Mind, to consider what Figures to bring in, and what they are to Think, Say, or Do ; and then to Sketch upon Paper this Idea of his ; and not only the Invention, but Composition of his intended Picture : This he may alter upon the same Paper, or by making other Sketches, till he is pretty well determin’d as to that ; (and this is that first Sense in which I said the Term Drawing, or Designing was to be understood.) In the next place his Business is to consult the Life, and to make Drawings of particular Figures, or parts of Figures, or of what else he intends to bring into his Work, as he finds necessary ; together also with such Ornaments, or other things of his Invention, as Vases, Frizes, Trophies, &c. till he has brought his Picture to some Perfection on Paper, either in these loose Studies, or in one entire Drawing. This is frequently done, and sometimes these Drawings are finish’d very highly by the Master, either that his Disciples might be able from them to make a greater Progress in the Grand Work, and so leave the less for Himself to do ; or because he made Advantage of such Drawings from the Person who employ’d him, or some other ; and perhaps sometimes for his own Pleasure.
Of these Drawings of all kinds, those great Masters […] made very many ; sometimes several for the same thing, and not only for the same Picture, but for one Figure, or part of a Figure ; and though too many are perish’d, and lost, a considerable Number have escap’d, and been preserved to our Times, some very well, others not, as it has happen’d : And these are exceedingly priz’d by all who understand, and can see their Beauty ; for they are the very Spirit, and Quintessence of the Art ; there we see the Steps the Master took, the Materials with which he made his Finish’d Paintings, which are little other than Copies of these, and frequently (at least in part) by some Other Hand ; but these are undoubtedly altogether his Own and true, and proper Originals.

terms translations

Conceptual field(s)

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

designing · sketch · study

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin
GENRES PICTURAUX → peinture d’histoire
PEINTURE, TABLEAU, IMAGE → statut de l'oeuvre : copie, original...
terms translations

Conceptual field(s)

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

drawing · study

Conceptual field(s)

GENRES PICTURAUX → peinture d’histoire
PEINTURE, TABLEAU, IMAGE → définition du dessin
PEINTURE, TABLEAU, IMAGE → statut de l'oeuvre : copie, original...
terms translations

drawing · sketch

Conceptual field(s)

GENRES PICTURAUX → peinture d’histoire
PEINTURE, TABLEAU, IMAGE → définition du dessin
PEINTURE, TABLEAU, IMAGE → statut de l'oeuvre : copie, original...

The Thoughts, and Finishings are in a great Measure seen in the Prints of such Works of which Prints are made, nor is a Drawing destitute of Colouring absolutely ; on the contrary, one frequently sees beautiful Tints in the Paper, Washes, Ink, and Chalks of Drawings ; But what is wanting in some respects is abundantly recompenc’d in Others, for in These Works the Masters not being embarrass’d with Colours have had a full Scope, and perfect Liberty, which is a very considerable Advantage, especially to some of them. There is a Spirit, a Fire, a Freedom, and Delicacy in the Drawings of Giulio Romano, Polydoro, Parmeggiano, Battista Franco, &c. which are not to be seen in their Paintings : A Pen, or Chalk will perform what cannot possibly be done with a Pencil ; and a Pencil with a thin Liquid only what cannot be done when one has a Variety of Colours to manage, especially in Oil.

terms translations

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils
MATERIALITE DE L’ŒUVRE → technique du dessin
EFFET PICTURAL → qualité du dessin
terms translations

Conceptual field(s)

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

Conceptual field(s)

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

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils
MATERIALITE DE L’ŒUVRE → technique du dessin
EFFET PICTURAL → qualité du dessin
terms translations

Conceptual field(s)

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

Conceptual field(s)

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

COLOURING
COLOURS are to the Eye what Sounds are to the Ear, Tastes to the Palate, or any other Objects of our Senses are to those Senses ; and accordingly an Eye that is delicate takes in proportionable Pleasure from Beautiful ones, and is as much Offended with their Contraries. Good Colouring therefore in a Picture is of Consequence, not only as it is a truer Representation of Nature, where every thing is Beautiful in its Kind, but as administring a considerable Degree of Pleasure to the Sense.
The Colouring of a Picture must be varied according to the Subject, the Time, and Place.
If the Subject be Grave, Melancholy, or Terrible, the General Tinct of the Colouring must incline to Brown, Black, or Red, and Gloomy ; but be Gay, and Pleasant in Subjects of Joy and Triumph. […]. Morning, Noon, Evening, Night ; Sunshine, Wet, or Cloudy Weather, influences the Colours of things ; and if the Scene of the Picture be a Room, open Air, the partly open, and partly inclos’d, or Colouring must be accordingly.

terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
CONCEPTS ESTHETIQUES → convenance, bienséance
terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
CONCEPTS ESTHETIQUES → convenance, bienséance
terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
SPECTATEUR → perception et regard
terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
CONCEPTS ESTHETIQUES → convenance, bienséance

The Distance also alters the Colouring because of the Medium of Air through which every thing is seen, which being Blue, the more remote any Object is the more it must partake of that Colour, consequently must have less Force, or Strength ;

terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
terms translations

Le traducteur utilise le même terme en français (Force) pour traduire à la fois Strength et Force.

strength

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
terms translations

Le traducteur utilise le même terme en français (Force) pour traduire à la fois Strength et Force.

force

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur

Any of the several Species of Colours may be as Beautiful in their Kinds as the others, but one Kind is more so than another, as having more Variety, and consisting of Colours more pleasing in their own Nature ; in which, and the Harmony, and Agreement of one Tinct with another, the Goodness of Colouring consists.
To shew the Beauty of Variety I will instance in a
Geldër Rose, which is White ; but having many Leaves one under another, and lying hollow so as to be seen through in some places, which occasions several Tincts of Light, and Shadow ; and together with these some of the Leaves having a Greenish Tinct, all together produces that Variety which gives a Beauty not to be found in this Paper, tho’ ‘tis White, nor in the inside of an Egg-shell tho’ whiter, nor in any other White Object that has not that Variety.

terms translations

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
EFFET PICTURAL → qualité des couleurs
terms translations

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
terms translations

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs

Any of the several Species of Colours may be as Beautiful in their Kinds as the others, but one Kind is more so than another, as having more Variety, and consisting of Colours more pleasing in their own Nature ; in which, and the Harmony, and Agreement of one Tinct with another, the Goodness of Colouring consists.
To shew the Beauty of Variety I will instance in a
Geldër Rose, which is White ; but having many Leaves one under another, and lying hollow so as to be seen through in some places, which occasions several Tincts of Light, and Shadow ; and together with these some of the Leaves having a Greenish Tinct, all together produces that Variety which gives a Beauty not to be found in this Paper, tho’ ‘tis White, nor in the inside of an Egg-shell tho’ whiter, nor in any other White Object that has not that Variety.
And this is the Case, though this Flower be seen in a Room in Gloomy, or Wet Weather ; but let it be expos’d to the open Air when the Sky is Serene, the Blue that those Leaves, or parts of Leaves that lye open to it will receive, together with the Reflections that then will also happen to strike upon it, will give a great Addition to its Beauty : But let the Sun-beams touch up its Leaves where they can reach with their fine Yellowish Tinct, the other retaining their Sky-Blue, together with the Shadows and brisk Reflections it will then receive, and then you will see what a Perfection of Beauty it will have, not only because the Colours are more Pleasant in themselves, but there is greater Variety.

terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
EFFET PICTURAL → qualité des couleurs
terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
EFFET PICTURAL → qualité des couleurs
terms translations

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs

A piece of Silk, or Cloth hung, or laid flat, has not the Beauty tho’ the Colour of it be pleasing, as when flung into Folds ; nay a piece of Silk that has little Beauty in it self shall be much improv’d only by being Pink’d, Water’d, or Quilted ; the Reason is, in these Cases there arises a Variety produced by Lights, Shades, and Reflections.
There are, as I said, certain Colours less agreeable than others, as a Brick-Wall, for example, yet when the Sun strikes upon one part of it, and the Sky tinges another part of it, and Shadows and Reflections the rest, this Variety shall give even That a Degree of Beauty.

terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → lumière
CONCEPTION DE LA PEINTURE → couleur

Perfect Black, and White are disagreeable ; for which reason a Painter should break those Extreams of Colours that there may be a Warmth, and Mellowness in his Work : Let him (in Flesh especially) remember to avoid the Chalk, the Brick, and the Charcoal, and think of a Pearl, and a ripe Peach.

terms translations

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
terms translations

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
terms translations

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
terms translations

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs

But ‘tis not enough that the Colours in themselves are Beautiful singly, and that there be Variety, They must be set by one another so as to be mutually assistant to each other ; and this not only in the Object painted, but in the Ground, and whatsoever comes into the Composition ; so as that every Part, and the Whole together may have a pleasing effect to the Eye ; such a Harmony to It as a good piece of Musick has to the Ear ; But for which no certain Rules can be given no more than for that : Except in some few General Cases which are very Obvious, and need not therefore be mention’d here.

terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
EFFET PICTURAL → qualité des couleurs
terms translations

Conceptual field(s)

CONCEPTION DE LA PEINTURE → couleur
terms translations

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
terms translations

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs

The Best that can be done is to Advise one that would know the Beauty of Colouring, To observe Nature, and how the best Colourists have imitated her.
What a Lightness, Thinness, and Transparency ; What a Warmth, Cleanness, and Delicacy is to be seen in Life, and in good Pictures !
He that would be a good Colourist himself must moreover Practice much after, and for a considerable time accustom himself to See well-colour’d Pictures only : But even This will be in vain, unless he has a Good Eye in the Sense, as one is said to have a Good Ear for Musick ; he must not only See well, but have a particular Delicacy with relation to the Beauty of Colours, and the infinite Variety of Tincts.

The
Venetian, Lombard and Flemish Schools have excell’d in Colouring ; the Florentine, and Roman in Design ; the Bolognese Masters in both ; but not to the Degree generally as either of the other. Corregio, Titian, Paolo Veronese, Rubens, and Van Dyck, have been admirable Colourists ; the latter in his best things has follow’d common Nature extreamly close.

terms translations

Conceptual field(s)

L’ARTISTE → apprentissage
terms translations

Conceptual field(s)

L’ARTISTE → qualités

The Best that can be done is to Advise one that would know the Beauty of Colouring, To observe Nature, and how the best Colourists have imitated her.
What a Lightness, Thinness, and Transparency ; What a Warmth, Cleanness, and Delicacy is to be seen in Life, and in good Pictures !
He that would be a good Colourist himself must moreover Practice much after, and for a considerable time accustom himself to See well-colour’d Pictures only : But even This will be in vain, unless he has a Good Eye in the Sense, as one is said to have a Good Ear for Musick ; he must not only See well, but have a particular Delicacy with relation to the Beauty of Colours, and the infinite Variety of Tincts.

terms translations

Conceptual field(s)

L’ARTISTE → qualités
CONCEPTION DE LA PEINTURE → couleur
terms translations

Conceptual field(s)

L’ARTISTE → qualités

It must be consider’d they [ndr : les cartons de Raphaël] were made for Patterns for Tapistry, not profess’d Pictures, and painted, not in Oil, but in Distemper : If therefore one sees not the Warmth, and Mellowness, and Delicacy of Colouring which is to be found in Correggio, Titian, or Rubens, it may fairly be imputed in a great measure to these Causes. A Judicious Painter has other Considerations relating to the Colouring when he makes Patters for Tapistry to be heightned with Gold, and Silver, than when he paints a Picture without such View ; nor can a sort of Dryness, and Harshness be avoided in Distemper, upon Paper : Time moreover has apparently chang’d some of the Colours. In a word, the Tout-Ensemble of the Colours is Agreeable, and Noble ; and the Parts of it are in General Extreamly, but not Superlatively Good.

terms translations

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la peinture
EFFET PICTURAL → qualité des couleurs
terms translations

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la peinture
EFFET PICTURAL → qualité des couleurs

HANDLING
BY this Term is understood the manner in which the Colours are left by the Pencil upon the Picture ; as the manner of using the Pen, Chalk, or Pencil in a Drawing is the Handling of that Drawing.
This consider’d in it self abstractedly is only a piece of Mechanicks, and is Well, or Ill as ‘tis perform’d with a Curious, Expert ; or Heavy, Clumsey Hand ; and that whether ‘tis Smooth, or Rough, or however ‘tis done ; for all the Manners of Working the Pencil may be Well or Ill in their kind ; and a fine light Hand is seen as much in a Rough, as in a Smooth manner.

terms translations

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

manner

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
terms translations

handling

Conceptual field(s)

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

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils

But the Handling may be such as to be not only Good abstractedly consider’d, but as being Proper, and adding a real Advantage to the Picture : And then to say a Picture has such, and such good Properties, and is also Well Handled (in that Sense) is as to say a Man is Wise, Virtuous, and the like, and is also Handsome, and perfectly Well bred.
Generally if the Character of the Picture is Greatness, Terrible, or Savage, as Battels, Robberies, Witchcrafts, Apparitions, or even the Portraits of Men of such Characters there ought to be employ’d a Rough, Bold Pencil ; and contrarily, if the Character is Grace, Beauty, Love, Innocence, &c. a Softer Pencil, and more finishing is proper.

terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
MANIÈRE ET STYLE → le faire et la main
terms translations

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
CONCEPTS ESTHETIQUES → convenance, bienséance
terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
MANIÈRE ET STYLE → le faire et la main
terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
MANIÈRE ET STYLE → le faire et la main
terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → convenance, bienséance
MANIÈRE ET STYLE → le faire et la main

But Generally Small Pictures should be Well Wrought.
Jewels, Gold, Silver, and whatsoever has smart Brightness require Bold, Rough Touches of the Pencil in the Heightnings.
The Pencil should be left pretty much in Linen, Silks, and whatsoever has a Glossyness.
All large Pictures, and whatsoever is seen at a great Distance should be Rough
; for besides that ‘twould be loss of Time to a Painter to Finish such things highly, since Distance would hide all that Pains ; those Bold Roughnesses give the Work a greater Force, and keep the Tincts distinct.

terms translations

Conceptual field(s)

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

But Generally Small Pictures should be Well Wrought.
Jewels, Gold, Silver, and whatsoever has smart Brightness require Bold, Rough Touches of the Pencil in the Heightnings.
The Pencil should be left pretty much in Linen, Silks, and whatsoever has a Glossyness.
All large Pictures, and whatsoever is seen at a great Distance should be Rough
; for besides that ‘twould be loss of Time to a Painter to Finish such things highly, since Distance would hide all that Pains ; those Bold Roughnesses give the Work a greater Force, and keep the Tincts distinct.
The more Remote any thing is supposed to be, the less Finishing it ought to have. I have seen a Fringe to a Curtain in the Back-Ground of a Picture, which perhaps was half a Day in painting, but might have been better done in a Minute.
There is often a Spirit, and Beauty in a Quick, or perhaps an Accidental Management of the Chalk, Pen, Pencil, or Brush in a Drawing, or Painting, which ‘tis impossible to preserve if it be more finish’d ; at least ‘tis great odds but it will be lost :
‘Tis better therefore to incur the Censure of the Injudicious than to hazard the losing such Advantages to the Picture. Apelles comparing himself with Protogenes said, Perhaps he is Equal, if not Superior to me in Some things, but I am sure I Excell him in This : I know when to have done.

terms translations

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

The more Remote any thing is supposed to be, the less Finishing it ought to have. I have seen a Fringe to a Curtain in the Back-Ground of a Picture, which perhaps was half a Day in painting, but might have been better done in a Minute.
There is often a Spirit, and Beauty in a Quick, or perhaps an Accidental Management of the Chalk, Pen, Pencil, or Brush in a Drawing, or Painting, which ‘tis impossible to preserve if it be more finish’d ; at least ‘tis great odds but it will be lost :
‘Tis better therefore to incur the Censure of the Injudicious than to hazard the losing such Advantages to the Picture. Apelles comparing himself with Protogenes said, Perhaps he is Equal, if not Superior to me in Some things, but I am sure I Excell him in This : I know when to have done.

terms translations

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

Flesh in Pictures to be seen at a common distance, and especially Portraits, should (generally speaking) be well wrought up, and then touch d upon every where in the Principal Lights, and Shadows, and to pronounce the Features ; and this more, or less, according to the Sex, Age, or Character of the Person, avoiding Narrow, or long continued Strokes, as in the Eye-lids, Mouth, &c. and too many Sharp ones : This being done by a Light Hand, Judiciously, gives a Spirit, and retains the Softness of Flesh.

terms translations

Conceptual field(s)

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

Conceptual field(s)

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

Conceptual field(s)

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

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
EFFET PICTURAL → touche

There are two Mistakes very common ; One is because a great many good Pictures are very Rough painted People fancy that is a Good Picture that is so. There is Bold Painting, but there is also Impudent Painting. Others on the contrary judge of a Picture not by their Eyes, but by their Fingers ends, they Feel if it be good. Those appear to know little of the true Beauties of the Art, that thus fix upon the least considerable Circumstance of it as if it were All, or the Principal thing to be consider’d.

terms translations

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
SPECTATEUR → jugement
terms translations

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main
SPECTATEUR → jugement

The Cartons, as they are properly no other than Colour’d Drawings, are Handled accordingly, and extreamly well.

terms translations

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition du dessin

Leonardo da Vinci had a wondrous Delicacy of Hand in finishing highly ; but Giorgion, and Correggio have especially been famous for a Fine, that is, a Light, Easy, and Delicate Pencil.

terms translations

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

For Works at a Great Distance Lanfranc had a Noble Manner of Handling ; as particularly in the Cupola of S. Andrea della Valle, which is in Fresco, and where the Colours are flung on with a Spunge instead of a Pencil, or a Brush ; not for a Whim, but as most proper to the purpose ; and an Eye (for example) appears Near, as one Rude Spot, but as it ought at its intended Distance.

terms translations

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la peinture

There is some Degree of Merit in a Picture where Nature is Exactly copy’d, though in a Low Subject ; Such as Drolls, Countrey Wakes, Flowers, Landscapes, &c. and More in proportion as the Subject rises, or the End of the Picture is this Exact Representation. Herein the Dutch, and Flemish Masters have been Equal to the Italians, if not Superior to them in general. What gives the Italians, and Their Masters the Ancients the Preference, is, that they have not Servilely follow’d Common Nature, but Rais’d, and Improv’d, or at least have always made the Best Choice of it. This gives a Dignity to a Low Subject, and is the reason of the Esteem we have for the Landscapes of Salvator Rosa, Filippo Laura, Claude Lorrain, the Poussins ; the Fruit of the two Michelangelo’s, the Battaglia, and Campadoglio ; and This, when the Subject it self is Noble, is the Perfection of Painting : As in the best Portraits of Van-Dyck, Rubens, Titian, Rafaëlle, &c. and the Histories of the best Italian Masters ; chiefly those of Rafaëlle ; he is the great Model of Perfection !

terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → beauté, grâce et perfection
CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

Conceptual field(s)

GENRES PICTURAUX → scène de genre
GENRES PICTURAUX → paysage
GENRES PICTURAUX → nature morte
GENRES PICTURAUX → portrait
CONCEPTS ESTHETIQUES → nature, imitation et vrai
GENRES PICTURAUX → peinture d’histoire

A History-Painter must describe all the Various Characters, Real, or Imaginary ; and that in all their Situations, Pleas’d, Griev’d, Angry, Hoping, Fearing, &c. A Face-Painter has to do with all the Real Characters, except only some few of the Meanest, and the most Sublime, but not with that Variety of Sentiments as the other. The whole Business of His Life is to describe the Golden Age, […]. Every one of His People therefore must appear Pleas’d, and in Good Humour ; but Varied suitably to the Rais’d Character of the Person drawn ;

terms translations

Conceptual field(s)

GENRES PICTURAUX → portrait
L’HISTOIRE ET LA FIGURE → expression des passions
terms translations

Conceptual field(s)

GENRES PICTURAUX → peinture d’histoire
L’HISTOIRE ET LA FIGURE → expression des passions
terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → expression des passions
GENRES PICTURAUX → peinture d’histoire
GENRES PICTURAUX → portrait

If some Grace Characters require an Air of Thoughtfulness, as if engag’d in a diligent Search after Truth, or in some Important Project, they must however not appear Displeas’d, unless in some rare Instances, as Van-Dyck has put something of Sorrow in one Picture of his Unfortunate Patron King Charles I. (I mean that at Hampton-Court) which I believe was done when he was entring into his Troubles, and which is therefore in that respect Historical.

terms translations

Il existe plusieurs portraits de Charles Ier réalisés par Van Dyck. Richardson évoquerait celui réalisé vers 1637-1638 et aujourd'hui conservé à la National Gallery (inv. NG1172).

Conceptual field(s)

GENRES PICTURAUX → portrait

Thus to raise the Character : To divest an Unbred Person of his Rusticity, and give him something at least of a Gentleman ; to make one of a moderate Share of good Sense appear to have a Competency, a Wise Man to be more Wise, and a Brave Man to be more so, a Modest, Discreet Woman to have an Air something Angelical, and so of the rest ; and then to add that Joy, or Peace of Mind at least, and in such a manner as is suitable to the several Characters, is absolutely necessary to a good Face-Painter : But ‘tis the most Difficult part of his Art, and the last attain’d ; perhaps ‘tis never so much as Thought of by Some : All that They aim at is to make such a Likeness of the Face as shall be Known immediately ; and that it be Young, Fair, and Handsome ; and frequently those for whom the Pictures are made Expect no more ; whether the Characters of Wisdom, or Folly be impress’d upon them it matters not. Accordingly we see Portraits which are perfect Burlesques upon the Minds of the Persons drawn ; a Wise Man shall appear with the Air of a Fop ; a Man of Spirit, and Wit, like a Smart, or a Pretty Fellow ; a Modest Ingenious Man like a Beau ; a Virtuous Lady as a meer Coquet.

terms translations

Conceptual field(s)

GENRES PICTURAUX → portrait
terms translations

Conceptual field(s)

GENRES PICTURAUX → portrait

But the Face-Painter is under a greater Constraint in both respects than he that paints History ; Additional Grace, and Greatness he is to give, above what is to be found in the Life, must not be thrown in too profusely, the Resemblance must be preserv’d, and appear with Vigour ; the Picture must have Both. Then it may be said, that the Gentleman, or Lady makes a Fine, or a Handsome Picture : But the Likeness not being regarded, ‘tis not They, but the Painter that makes it ; nor is there any great Difficulty in making Such Fine Pictures.
I was lately observing with a great deal of Pleasure how the Ancients had succeeded in the three several ways of Managing Portraits : I happen’d to have then before me (amongst others) several Medals of the Emperor
Maximinus, who was particularly remarkable for a long Chin : One Medal of him had That, but that the Artist might be sure of a Likeness he had Exaggerated it : Another had par’d off about half of it : But these as they wanted the Just Resemblance, so there was a Poverty in them ; they were destitute of that Life, and Spirit which the other had, where Nature seems to have been moore closely follow’d. In making Portraits we must keep Nature in View ; if we launch out into the Deep we are lost.

terms translations

Conceptual field(s)

GENRES PICTURAUX → portrait
CONCEPTS ESTHETIQUES → beauté, grâce et perfection
CONCEPTS ESTHETIQUES → grandeur et noblesse
terms translations

Conceptual field(s)

GENRES PICTURAUX → portrait
CONCEPTS ESTHETIQUES → beauté, grâce et perfection
CONCEPTS ESTHETIQUES → grandeur et noblesse
terms translations

resemblance

Conceptual field(s)

GENRES PICTURAUX → portrait
terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
terms translations

likeness

Conceptual field(s)

GENRES PICTURAUX → portrait

The same regard [ndr : que pour les airs de la tête] must be had to every Action, and Motion. The Figures must not only do what is Proper, and in the most Commodious Manner, but as People of the best Sense, and Breeding, (their Character being consider’d) would, or should perform such Actions. The Painter’s People must be good Actors ; they must have learn’d to use a Humane Body well ; they must Sit, Walk, Lye, Salute, do every thing with Grace. There must be no Awkard, Sheepish, or Affected Behaviour, no Strutting, or silly Pretence to Greatness ; no Bombast in Action : Nor must there be any Ridiculous Contorsion of the Body, Nor even such Appearances, or Fore-shortnings as are displeasing to the Eye, though the same Attitude in another View might be perfectly Good.

terms translations

motion

Conceptual field(s)

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

action

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → action et attitude

The Contours must be Large, Square, and Boldly pronounc’d to produce Greatness ; and Delicate, and finely Waved, and Contrasted to be Gracious. There is a Beauty in a Line. in the Shape of a Finger, or Toe, even in that of a Reed, or Leaf, or the most inconsiderable things in Nature : I have Drawings of Guilio Romano of something of this Kind ; his Insects, and Vegetables are Natural, but as much above those of other Painters as his Men are : There is that in these things which Common Eyes see not, but which the Great Masters know how to give, and They Only.

terms translations

Conceptual field(s)

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

Conceptual field(s)

CONCEPTION DE LA PEINTURE → dessin
CONCEPTS ESTHETIQUES → beauté, grâce et perfection
CONCEPTS ESTHETIQUES → grandeur et noblesse
EFFET PICTURAL → qualité du dessin
terms translations

Conceptual field(s)

EFFET PICTURAL → qualité du dessin

The Draperies must have broad Masses of Light, and Shadow, and noble large Folds to give a Greatness ; and These artfully subdivised, add Grace. As in that Admirable Figure of S. Paul Preaching, of which I have already spoken, the Drapery would have had a Greatness if that whole Broad Light had been kept, and that part which is flung over his Shoulder, and hangs down his Back had been omitted ; but That adds also a Grace.

terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis
CONCEPTS ESTHETIQUES → beauté, grâce et perfection
CONCEPTS ESTHETIQUES → grandeur et noblesse
terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis
CONCEPTS ESTHETIQUES → beauté, grâce et perfection
CONCEPTS ESTHETIQUES → grandeur et noblesse
terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis
CONCEPTS ESTHETIQUES → beauté, grâce et perfection
terms translations

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → vêtements et plis
CONCEPTS ESTHETIQUES → grandeur et noblesse

The Ancients possess’d Both the excellent Qualities I have been treating of [ndr : Grace et Greatness], among whom Apelles is distinguish’d for Grace. Rafaëlle was the Modern Apelles, not however without a prodigious Degree of Greatness. His Style is not Perfectly Antique, but seems to be the effect of a Fine Genius accomplish’d by Study in that excellent School ; ‘Tis not Antique, but (may I dare to say it) ‘tis Better, and that by Choice, and Judgment. Giulio Romano had Grace, and Greatness, more upon the Antique Taste, but not without a great Mixture of what is peculiarly his Own, and admirably Good, but never to be imitated. Polydore in his best things was altogether Antique. […] His Style [ndr : de Michel-Ange] is his Own, not Antique, but He had a sort of Greatness in the utmost Degree, which sometimes ran into the Extream of Terrible ;

terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → antique
MANIÈRE ET STYLE → école
terms translations

taste

Conceptual field(s)

MANIÈRE ET STYLE → école
terms translations

style

Conceptual field(s)

CONCEPTS ESTHETIQUES → antique
MANIÈRE ET STYLE → école

Instead of making Caricaturaes of Peoples Faces (a Foolish Custom of Burlesquing them, too much used) Painters should take a Face, and make an Antique Medal, or Bas-Relief of it, by divesting it of its Modern Disguises, raising the Air, and the Features, and giving it the Dress of those Times, and suitable to the Character intended.

terms translations

Conceptual field(s)

GENRES PICTURAUX → portrait
CONCEPTS ESTHETIQUES → antique
terms translations

Conceptual field(s)

GENRES PICTURAUX → portrait

what I chiefly intented, which was to speak of the Sublime in Painting. The Term indeed is not so Generally apply’d to That Art, but would have been had it been so Generally Understood, and so much treated on as Writing : For certainly the Supream Excellence in Painting is As worthy of that Distinction ; and More so, as employing More of the Faculties pecular to the Noblest Creature we are acquainted with.
And here I take the Sublime to be the Greatest, and most Beautiful Ideas, whether Corporeal, or not, convey’d to us the most Advantageously.
By Beauty I do not mean that of Form, or Colour, Copy’d from what the Painter sees ; These being never so well Imitated, I take not to be Sublime, because These require little more than an Eye, and Hand, and Practice. An Exalted Idea of Colour in a Humane Face, or Figure might be judg’d to be Sublime, could That be had, and convey’d to Us, as I think it cannot, since even Nature has not yet been Equall’d by the best Colourists ; Here she keeps Art at a Distance whetever Courtship it has made to her.
In Forms ‘tis Otherwise as we find in the Antique Statues, which therefore I allow to have a Sublimity in them : And should do the same in regard to the same Kind, and Degree of Beauty if it were to be found in any Picture, as I believe it is not. Tho’ in Pictures is seen a Grace, and Greatness, whether from the Attitude, or Air of the Whole, or the Head only, that may justly be Esteem’d Sublime.
‘Tis to these Properties therefore as also to the Invention, Expression and Composition, that I confine the Sublime in Painting, and that as they are found in Histories and Portraits.
If the Story, Sublime in it Self, loses nothing of its own Dignity under the Painter’s Hand ; Or if ‘tis Rais’d, and Improv’d, which it cannot be if the Airs of the Heads, and Attitudes of the Figures are not conformable to the Greatness of the Subject : If Expedients, and Incidents are flung in, that discover an Elevation of Thought in the Master, And all is Artfully convey’d to us, whetherin a Sketch, or Drawing, or in a Finish’d Picture. This I esteem Sublimity in Painting. Nor less so, if a Noble Character is Given, or Improv’d ; a Character of Wisdom, Goodness, Magnanimity, or whatever Other Vertues, or Excellencies ; and that together with a Just and Proper Resemblance. But a Low Subject, and a Mean Character are Incapable of Sublimity : As the Best Composition when employ’d on Such.

terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → merveilleux et sublime
terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → merveilleux et sublime

And here I take the Sublime to be the Greatest, and most Beautiful Ideas, whether Corporeal, or not, convey’d to us the most Advantageously.
By Beauty I do not mean that of Form, or Colour, Copy’d from what the Painter sees ; These being never so well Imitated, I take not to be Sublime, because These require little more than an Eye, and Hand, and Practice. An Exalted Idea of Colour in a Humane Face, or Figure might be judg’d to be Sublime, could That be had, and convey’d to Us, as I think it cannot, since even Nature has not yet been Equall’d by the best Colourists ; Here she keeps Art at a Distance whetever Courtship it has made to her.

terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → merveilleux et sublime

And here I take the Sublime to be the Greatest, and most Beautiful Ideas, whether Corporeal, or not, convey’d to us the most Advantageously.
By Beauty I do not mean that of Form, or Colour, Copy’d from what the Painter sees ; These being never so well Imitated, I take not to be Sublime, because These require little more than an Eye, and Hand, and Practice. An Exalted Idea of Colour in a Humane Face, or Figure might be judg’d to be Sublime, could That be had, and convey’d to Us, as I think it cannot, since even Nature has not yet been Equall’d by the best Colourists ; Here she keeps Art at a Distance whetever Courtship it has made to her.
In Forms ‘tis Otherwise as we find in the Antique Statues, which therefore I allow to have a Sublimity in them : And should do the same in regard to the same Kind, and Degree of Beauty if it were to be found in any Picture, as I believe it is not. Tho’ in Pictures is seen a Grace, and Greatness, whether from the Attitude, or Air of the Whole, or the Head only, that may justly be Esteem’d Sublime.

terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → merveilleux et sublime
terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → beauté, grâce et perfection
CONCEPTS ESTHETIQUES → merveilleux et sublime
terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → merveilleux et sublime
terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → merveilleux et sublime
terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → merveilleux et sublime
terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → merveilleux et sublime

I should […] have been sparing of Examples, if I had not already given many for other Purposes, but which are also Instances of the Sublime in Painting, and which are scatter’d up and down throughout all I have Written on this Amiable Subject : But One or Two I will add in This Place. The First shall be from Rembrandt ; and surely he has given Us such an Idea of a Death-Bed in one Quarter of a Sheet of Paper in two Figures with few Accompagnements, and in Clair Obscure only, that the most Eloquent Preacher cannot paint it so strongly by the most Elaborate Discourses ; […]. An Old Man is lying on his Bed, just ready to Expire ; this Bed has a plain Curtain, and a Lamp hanging over it, for ‘tis in a Little sort of an Alcove, Dark Otherwise, though ‘tis Bright Day in the next Room, and which is nearest the Eye, There the Son of this Dying Old Man is at Prayers. […]. All is over with this Man, and there is such an Expression in this Dull Lamp-Light at Noon-Day, such a Touching Solemnity, and Repose that these Equal any thing in the Airs, and Attitudes of the Figures, which have the Utmost Excellency that I think I ever saw, or can conceive is possible to be Imagined.
‘Tis a Drawing, I have it. And here is an Instance of an Important Subject, Impress’d upon our Minds by such Expedients, and Incidents as display an Elevation of Thought, and fine Invention ; and all this with the Utmost Art, and with the greatest Simplicity ; That being more Apt, at least in this Case, than any Embellishment whatsoever.

terms translations

D'après C. Gibson-Wood, le dessin évoqué par Richardson ne représente pas un homme sur son lit de mort, mais la prière de saint Pierre avant la résurrection de Tabitha (C. Gibson-Wood, 2003, reproduction p. 168).

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
terms translations

D'après C. Gibson-Wood, le dessin évoqué par Richardson ne représente pas un homme sur son lit de mort, mais la prière de saint Pierre avant la résurrection de Tabitha (C. Gibson-Wood, 2003, reproduction p. 168).

Conceptual field(s)

CONCEPTS ESTHETIQUES → merveilleux et sublime
L’HISTOIRE ET LA FIGURE → expression des passions
terms translations

D'après C. Gibson-Wood, le dessin évoqué par Richardson ne représente pas un homme sur son lit de mort, mais la prière de saint Pierre avant la résurrection de Tabitha (C. Gibson-Wood, 2003, reproduction p. 168).

Conceptual field(s)

CONCEPTS ESTHETIQUES → merveilleux et sublime

I am perhaps too much Prejudiced in favour of Painting, but however not so much but that I am ready to acknowledge that we have Few Instances, if Any of the Perfect Sublime, that is, where the Thought is so, and the manner of Conveyance Equal to it ; some Defects will always be found in the best Pictures, whereas there are Sublime Passages in Writers where the Words are not only the most Apt, and proper, but the most Beautiful : This nevertheless is to the honour of Our Art. No Man yet has arriv’d to Excellency in All Parts of it : That is the Task of an Angel, or some Angelick Man, such as has not yet appear’d. Rafaëlle, and Others have reach’d the Sublime, and rose as high as Homer, or Demosthenes ; but you can never see, I say not an Intire Picture, or Figure, but even a Single Head without at the same time seeing Something amiss : Whereas in Writers you often have their Beautiful Parts Detach’d, and Perfect.
But the Sublime, as the Crown in the State hides all Defects ; it fills and satisfies the Mind, nothing appears to be wanting ; nothing to be amiss, or if it does ‘tis easily forgiven. All Faults die, and vanish in the presence of the Sublime,

terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → merveilleux et sublime

He that would rise to the Sublime must form an Idea of Something beyond all we have yet seen ; or which Art, or Nature has yet produc’d ; Painting, Such as when all the Excellencies of the several Masters are United, and their several Defects avoided.
The greatest Designers among the Moderns want much of that exquisite Beauty, in all the Several Characters, that is to be seen in the Antique ; the Airs of the Heads, even of
Rafaëlle himself, are Inferiour to what the Ancients have done ; and for Grace to some of Guido : the Colouring of Rubens and Van Dyck falls short of That of Titian, and Coreggio ; and the best Masters have Rarely Thought like Rafaëlle, or Compos’d like Rembrandt. Let us then imagine a Picture Design’d as the Laocoon, the Hercules, the Apollo, the Venus, or any of these Miraculous remains of Antiquity : The Airs of Heads like what is to be found in the Statues, Busts, Bas-releifs, or Medals, or like some of those of Guido ; and Colour’d like the most Celebrated Colourists ; with the Lightest Pencil, and the most Proper to the Subject ; and all this Suitably Invented, and Compos’d ; Here would be a Picture ! Such a one a Painter should Imagine, and So set before him for Imitation.
Nor must he stop Here, but Create an Original Idea of Perfection. The Utmost that the Best Masters have done, is not to be suppos’d the Utmost ‘tis possible for Humane Nature to arrive at ;

terms translations

Dans cet extrait, Richardson mentionne plusieurs œuvres antiques. Outre le Laocoon, il évoque un Hercule, un Apollon et une Vénus. Néanmoins, il ne donne pas assez d'indication pour les identifier précisément.

Conceptual field(s)

CONCEPTS ESTHETIQUES → beauté, grâce et perfection
CONCEPTS ESTHETIQUES → merveilleux et sublime
terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → merveilleux et sublime
L’ARTISTE → apprentissage
terms translations

Conceptual field(s)

CONCEPTS ESTHETIQUES → beauté, grâce et perfection
CONCEPTS ESTHETIQUES → merveilleux et sublime
L’ARTISTE → apprentissage
terms translations

Dans cet extrait, Richardson mentionne plusieurs œuvres antiques. Outre le Laocoon, il évoque un Hercule, un Apollon et une Vénus. Néanmoins, il ne donne pas assez d'indication pour les identifier précisément.

Conceptual field(s)

CONCEPTS ESTHETIQUES → merveilleux et sublime