EASEL

EASEL (n.)

INSTRUMENT · MATERIAL · TOOL

CHEVALET (fra.) · ECHAFAUD (fra.) · STAFFELEI (deu.)

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ANONYME, The Excellency of the Pen and Pencil, Exemplifying The Uses of them in the most Exquisite and Mysterious Arts of Drawing, Etching, Engraving, Limning, Painting in Oyl, Washing of Maps & Pictures. Also the way to Cleanse any Old Painting, and Preserve the Colours. Collected from the Writings of the ablest Masters both Ancient and Modern, as Albert Durer, P. Lomantius, and divers others. Furnished with divers Cuts in Copper, being Copied from the best Masters, and here inserted for Examples for the Learner to Practice by. A Work very useful for all Gentlemen, and other Ingenious Spirits, either Artificers or others, London, Dorman Newman, 1688.

1 quotations

Of Painting in Oyl, Book IV, Chap. II, Of your Easell, Straining-frame, Cloath, Pallat, Pencils, and Stay, p. 93-94

Quotation

I Might here describe the form and fashion of your Easell and Pallat, but I think, I need not ; for he that ever saw a Painter at work must needs see these two Instruments ; but what they are, I shall here describe.
An Easell is a frame made of wood, not much unlike a Ladder, only the sides are flat, and full of holes on either side, to put in two pins to set your Work upon higher or lower at pleasure ; it is broader at the bottom than at the top, and on the back-side there is a Stay, by the help of which you may set in the middle of any room, more upright or sloping at pleasure ; […].

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils

BATE, John, The Mysteryes of Nature and Art : Conteined in foure severall Tretises, The first of water workes The second of Fyer workes. The third of Drawing, Colouring, Painting, and Engraving. The fourth of divers Experiments as wel serviceable as delightful: partly Collected, and partly of the Authors Peculiar Pratice, and Invention, London, Ralph Mab - Thomas Harper, 1634.

1 quotations

The Third Booke of Drawing, Painting, Limning, Graving, Of Painting, p. 119

Quotation

Of Painting,
The principall end and subject of this Art, is to set out things both in proportion of parts, and livelinesse of colour.
For the former, the proportion of parts, I have given sufficient information for the meanest capacitie in the precedent part of this tractat : now therefore I will speake of the other, the colouring or setting out in colours. But first provide a frame or Easel called by Artists, which is very necessary to worke upon, especially in greater pieces of worke : the forme whereof followeth [ndr : présence d’un dessin de chevalet].

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils

SALMON, William, Polygraphice, Or The Art of Drawing, Engraving, Etching, Limning, Painting, Washing, Varnishing, Colouring and Dying. In three Books. I. Shews the Drawing of Men, and other Animal Creatures, Landskips, Countries, and Figures of Various Forms. II. The way of Engraving, Etching and Limning, with all their Requisits and Ornaments. III. The way of Painting, Washing, Varnishing, Colouring, and Dying, according to the Method of the best Authors now Extant. Exemplified in the Painting of the Antients, Washing of Maps, Globes, or Pictures ; Dying of Cloth, Silks, Bones, Wood, Glass, Stones and Metals : together with the way of Varnishing thereof according to any Purpose or Intent. The Like never yet Extant. By W. S. a Lover of Art, London, E.T. and R.H., 1672.

1 quotations

Liber Tertius, Of Painting, Washing, Colouring, Dying and Varnishing, CHAP. I, Of Painting in Oyl, & the Materials thereof, p. 163-164

Quotation

CHAP. I. Of Painting in Oyl, & the Materials thereof.
I. Painting in Oyl is nothing but the work or Art of Limning performed with colours made up or mixed with oyl.
II. The materials of Painting are chiefly seven, 1. The Easel, 2. The Pallet, 3. The Straining frame, 4. The Primed cloath, 5. Pensils, 6. The Stay, 7. Colours.
III. The Easel is a frame made of wood (much like a ladder) with sides flat, and full of holes, to put in two pins to set your work upon higher or lower at pleasure ; something broader at bottom than at the top ; on the backside whereof is a stay, by which you may set the Easel more upright or floping.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils

SMITH, Marshall, The Art of Painting According to the Theory and Practise of the Best Italian, French, and Germane Masters. Treating of The Antiquity of Painting. The Reputation it allways had. The Characters of severall Masters. Proportion. Action and Passion. The Effects of Light. Perspective. Draught. Colouring. Ordonnance. Far more Compleat and Compendious then hath yet been publisht by any, Ancient or Modern. By M. S. Gent., London, The Vendüe, 1692.

1 quotations

Chap XXVII, The Instruments and Materials us’d in Painting and the preparing Colours to the Pallat, p. 71-75

Quotation

Chap XXVII, The Instruments and Materials us’d in Painting and the preparing Colours to the Pallat.
[...]. [...] Your Easel must be of a convenient Sise according to your work ; [...].

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils

EASEL (n.)

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