ARTIST

ARTIST (n.)

ARTISTE (fra.) · KUNSTENAAR (nld.) · KÜNSTLER (deu.) · KUNSTMALER (deu.)
TERM USED AS TRANSLATIONS IN QUOTATION
KUNSTENAAR (nld.) · PEINTRE (fra.)
BECQ, Annie, « Artiste », dans DELON, Michel (éd.), Dictionnaire européen des Lumières, Paris, Presses universitaires de France, 1997, p. 109-111.
DETHLEFS, Hans Joachim, « ARTISTE », 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. 68-77.
DOBAI, Johannes, Die Kunstliteratur des Klassizismus und der Romantik in England, Berne, Benteli, 1974 - 1984.
HEINICH, Nathalie, Du peintre à l’artiste. Artisans et académiens à l’âge classique, Paris, Éditions de Minuit, 1993.
HEINICH, Nathalie, « Académisation et professionnalisation des carrières de peintres », Annales E.S.C., vol. 45, 6, 1990, p. 1301-1315 [En ligne : https://www.persee.fr/doc/ahess_0395-2649_1990_num_45_6_278908 consulté le 04/04/2018].
HOWARTH, David, Images of rule. Art and politics in the English Renaissance, 1485-1649, Berkeley, University of California Press, 1997.
MOULIN, Raymonde, « De l'artisan au professionnel : l'artiste », Sociologie du travail, 83/4, 1983, p. 388-403 [En ligne : https://www.persee.fr/doc/sotra_0038-0296_1983_num_25_4_1944 consulté le 06/04/2017].
REY, Alain, « Le nom d’artiste », Romantisme. Revue du Dix-Neuvième Siècle. L’Artiste, L’Écrivain, Le Poète, 87/55, 1987, p. 5-22 [En ligne : https://www.persee.fr/doc/roman_0048-8593_1987_num_17_55_4857 consulté le 06/04/2018].
STANTON, Domna C., The Aristocrat as Art: The Honnête Homme and the Dandy in Seventeenth and Nineteenth Century Literature, New York, Columbia University Press, 1980.
WIEMERS, Michael, Der Gentleman und die Kunst. Studien zum Kunsturteil des englischen Publikums in Tagebuchaufzeichnungen des 17. Jh, Hildesheim, Olms, 1986.
Italiens (les)

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LINKED QUOTATIONS

4 sources
5 quotations

Quotation

After the first view of a Picture you may limit the understanding (without more difficulty) in few observations ; as first.
1. The
Artizans care and paines must be visible,
2. It must appeare that he had knowledge and understanding in the
Art, and followed it in every particular throughout ; Not as if done by severall hands, good and indifferent.
3. Then observe if he have expressed his Naturall
Genius, with delight, upon some special fancy, as more proper to himself, than any other.
 
For Example, some.
In
Historie and Figure.
Others in
Prospective.
Some in
Shipwrack and Seas.
In
designe.
In
likenesse to th’ Life.
In
Landskips, not many.
In
Flowers.
In
Huntings and Beasts.
Cattle and Neat-heards.
 
[…].
 
And in each of these severall
Artists have been (properly) more rare.

artisan

Conceptual field(s)

L’ARTISTE → qualités

Quotation

Of Abilities in Painters,
You may desire many
Abilities of an Artist in his Piece, but the Italians observe each single prayse to deserve merit, in any some Master.
Some, are noted for one of these,
viz.
Diligence and Proportion, with a free hand.
Fancie, and conceiving of Passions.
Invention.
Grace.
Of all these, we shall discourse hereafter.
{Confined.} But in a word, there may not be wanting these two,
First, to be well drawn, or (as Artizans term it) well designed ; and herein without exceptions, let there be truth and Grace.
Secondly, well Coloured, with Force, and Affection.

Italiens (les)

painter

Conceptual field(s)

L’ARTISTE → qualités

Quotation

I shall not undertake to determine here, which of these two Arts [ndr : la peinture et la sculpture] deserves our Admiration most : [...] But this I may say in favour of the Art of Painting, whose praises I am now to Celebrate, That it certainly is of a greater Extent than Sculpture, and has an Infiniter Latitude to delight us withal. [...] And from this Idæa of the Art, we may naturally derive a Consequence of the Admiration and Esteem due by us to the Artist ; he who at the same time is both Painter, Poet, Historian, Architect, Anatomist, Mathematician, and Naturalist ; he Records the Truth, Adorns the Fable, Pleases the Fancy, Recreates the Eye, Touches the Soul ; and in a word, entertains you with Silent Instructions, which are neither guilty of Flattery, nor Satyr ; and which you may either give over, or repeat with new Delight as often as you please.
            If these
Qualities do not sufficiently recommend the Owner of them to our Esteem, I know not what can ; and yet by a strange Fatality, we name the word Painter, without reflecting upon his Art, and most dis-ingeniously, seem to place him among the Mechanicks, who has the best Title to all the Liberal Arts.

painter

Conceptual field(s)

L’ARTISTE → qualités

Quotation

Among the many Operations of Mysterious Nature, the Intellectual Part of Man hath no equal : Among the multifarious Productions of Man’s Understanding, the Art of LIMNING is by none excelled ; whether we consider the Grandeur of Spirit therein expressed, or the Ingenious Delight thereby acquired. What Ray of the Great Creator’s Image is more conspicuous in the Soul of Man, than that of Intense Desire to produce Creatures of his own ? And wherein is that Inclination so compleatly answered, as by Delineating the Workmanship of God in Artificial Resemblances contrived and wrought by his proper Wit ? Nor can any Satisfaction equal what is derived from the Perfection of these Designs. Are the Proportions exact ? How strongly do they attract the Eye ? Be the Shadowings accurate ? How strangely do they affect the Mind ? But if the Artist hath stoln so much of Promethean Fire as to add the Excellency of Life to well-disposed Lineaments, representing the Native Air and sprightly Gesture of the Person in vive : How unspeakably doth he gratify both ?

Conceptual field(s)

L’ARTISTE → qualités

Quotation

FOR Pictura and Sculptura, in the Sence of the Poets, were accounted Twins ; [...] AND once more to urge the entire Connection of these TWO ARTS together, we dare with Confidence enough affirm, whereever we find a compleat ARTIST in Sculpture, he must also have a competent Talent of Knowledge in PAINTING ; and particularly more than meanly skilled in the ART of ready Drawing and Designing, and have a sufficient Knowledge of the Nature and Effect of Light and Shadows, which small Commencements, perhaps, made up the compleat Character of not a few of the antient Heroes, whom Pliny does so studiously, yet not undeservedly celebrate.

Conceptual field(s)

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