AIR

AIR (n.)

AIR (fra.) · ARIA (ita.) · LUCHT (nld.) · LUFT (deu.)
TERM USED AS TRANSLATIONS IN QUOTATION
AIR (fra.) · BEL-EFFET (fra.)
BLANC, Jan, « AIR / AIR DE TÊTE », dans HECK, Michèle-Caroline (éd.), LexArt. Les mots de la peinture (France, Allemagne, Angleterre, Pays-Bas, 1600-1750) [édition anglaise, 2018], Montpellier, Presses Universitaires de la Méditerranée, 2018, p. 37-40.
DUPRÉ, Sven, « Images in the air: optical games, magic and imagination », dans GOTTLER Christine (éd.), Spirits Unseen: The Representation of Subtle Bodies in Early Modern European Culture, Leiden, Brill, 2008, p. 71-92.
KREMER, Nathalie, « L’air des figures de Watteau », dans MÉROT, Alain, RAUSEO, Chris et TOUTAIN-QUITTELIER, Valentine (éd.), Watteau au confluent des arts : esthétiques de la grâce, Rennes, Presses universitaires de Rennes, 2014, p. 257-265.
SIMMONET, Cyrille, Brève histoire de l’air, Versailles, Éd. Quae, 2014.

FILTERS

CONCEPTUAL FIELDS

LINKED QUOTATIONS

3 sources
4 quotations

Quotation

Of the disposition of the Parts.
{5. Of Disposition.} A Picture of many
figures, must needs express some Historicall part in it ; Every figure ought to represent therein, by a speechless discourse, the connexion in them. Assigne therefore the principall place, to the principall figures, next to hand ; Other figures, farther off. Finish the Principal figures, whilst your Spirits are fresh. {In order to perfection,} Frame not your Historicall Piece, rude, loose, and scattered, but rather, in an equitable roundness of composition ; to be perceived by each observer ; to be liked of the most, but to be judged, only, by the learned. Neglects in disposition, are soon discovered.
{Soon discovered.} Pourtray in your excellent
Pieces, not only the dainty Lineaments of Beauty, but shadow round about, rude thickers, rocks ; and so it yields more grace to the Picture, and sets it out : this discord (as in musicke) makes a comely concordance ; a disorderly order of counterfeit rudeness, pleaseth : so much grace, doe mean and ordinary things, receive from a good and orderly connexion.
{But altogether excellent.} All these together, make that perspicuous
disposiiton in a Piece of History ; and is the effectuall expression in Posture and Action ; the very Passion of each Figure ; the Soul of the PICTURE ; the Grace and Ayr of the Piece ; or the sweet Consent of all manner of perfections heaped together, in one Picture.
{By example in brief}
And so have we done with an Example of all in One : For
 
                       Invention
allures the mind.
                       Proportion, attracts the Eyes.
                       Colour ;
delights the Fancie.
                      
Lively Motion, stirs up our Soul.
                      
Orderly Disposition, charmes our Senses.
 
{Conclude a rare Picture.} These produce gracefull
Comliness, which makes one fairer then fair ; […].
This Grace is the close of all, effected by a familiar facility in a free and quick spirit of a bold and resolute Artificer ; not to be done by too much double
diligence, or over doing ; a careless shew, hath much of Art.

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture

Quotation

Air.
Is properly taken for the Look of a Figure, and is used in this Manner, The Air of the Heads of Young Women, or Grave Men, &c.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps

Quotation

There is another Caution to be observed too in this Choice of Forms, which is, to keep a Judicious Aptitude to the Story ; for if the Painter, for Example, is to draw Sampson, he must not give him the Softness and Tenderness he would give to Ganimedes ; nay, there is a difference to be made in the very same Figure at different times : and Hercules himself is to be made more Robust, fighting with Anteus, than when he sits in Dejanira’s Lap. But above all, the Painter must observe an equal Air, so as not to make one part Musculous and Strong, and the other Soft and Tender.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps

Quotation

Apelles himself was so ingenuous to own so great a Proficiency therein, as might seem to add Confirmation, while in the Disposition, or Ordinance, he modestly yielded to Amphion ; in the Measures, or Proportions, he subscribed to Aschepiodorus ; and of Protogenes was wont to say, in all Points he was equal to him, if not above him ; but after all, there was yet one Thing wanting in them all, which was instar omnium, or, however, the Beauty and Life of all, which he only ascribed, and was proud in being the sole Master of himself, viz. his Venus by the Greeks, named ΧΑΡΙΣ a certain peculiar Grace, sometimes called the Air of the Picture, resulting from a due Observation and Concurrence of all the essential Points and Rules requisite in a compleat Picture, accompany’d with an unconstrained and unaffected Facility and Freedom of the Pencil, which together produced such a ravishing Harmony, that made their Works seem to be performed by some divine and unspeakable Way of ART ; and which (as Fr. Junius expresseth it) is not a Perfection of ART, proceeding meerly from ART, but rather a Perfection proceeding from a consummate ART.
HENCE it was that
Apelles admiring the wonderful Pains and Curiosity in each Point in a Picture of Protogenes’s Painting, yet took Occasion from thence to reprehend him for it as a Fault quod nescivit manum tollere de tabula, implying, that a heavy and painful Diligence and Affectation, are destructive of that Comeliness, Beauty and admired Grace, which only a prompt and prosperous Facility proceeding from a found Judgment of ART, can offord unto us.

Conceptual field(s)

CONCEPTS ESTHETIQUES → beauté, grâce et perfection
CONCEPTION DE LA PEINTURE → composition