FACE PAINTING (n.)

PORTRAIT (fra.) · RITRATTO (ita.)
TERM USED AS TRANSLATIONS IN QUOTATION
PORTRAIT (fra.)
ALLEN, Brian, « The Portrait in Eighteenth-Century Britain: Theory and Practice », dans BROOKS, Carolina et CURZI, Valter (éd.), Hogarth, Reynolds, Turner. British Painting and the Rise of Modernity, Roma, Skira, 2014, p. 33-56.
BONFAIT, Olivier, « Du masque au visage : le portrait dans la littérature d’art », dans COQUERY, Emmanuel et BONFAIT, Olivier (éd.), Visages du Grand Siècle, cat. exp., Nantes, Musée des Beaux-Arts, 1997-1998, Paris, Somogy, 1997, p. 35-47.
CAYUELA, Élodie, « Le portrait dans la France des Lumières : entre dénonciation et légitimation d’un genre pictural », À l'épreuve, 3, 2016 [En ligne : https://alepreuve.com/portrait-france-lumieres-denonciation-legitimation-dun-genre-pictural/] consulté le 20/12/2017].
CAYUELA, Élodie, « PORTRAIT », LexArt. Les mots de la peinture (France, Allemagne, Angleterre, Pays-Bas, 1600-1750) [édition anglaise, 2018], Montpellier, Presses Universitaires de la Méditerranée, 2018, p. 396-403.
COQUERY, Emmanuel, « La fabrique du portrait », dans COQUERY, Emmanuel, BONFAIT, Olivier, BRÊME, Dominique, BAJOU, Thierry, MEYER, Véronique, JAMES, Ariane et PREAUD, Maxime (éd.), Visages du Grand Siècle. Le portrait français sous le règne de Louis XIV, cat. exp., Nantes, Musée des Beaux-Arts, 1997-1998, Paris, Somogy, 1997, p. 137-160.
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].
HANSON, Craig A., The English Virtuoso: Art, Medicine, and Antiquarianism in the Age of Empiricism, Chicago, University of Chicago Press, 2009.
MICHEL, Christian et LICHTENSTEIN, Jacqueline (éd.), Conférences de l'Académie royale de peinture et de sculpture. Les conférences au temps de Guillet de Saint-Georges, 1682-1699, Paris, École nationale supérieure des Beaux-Arts, 2008, 6 tomes, tome II, 2 vol.
MICHEL, Christian, LICHTENSTEIN, Jacqueline et CASTEX, Jean-Gérald (éd.), Conférences de l'Académie royale de peinture et de sculpture. Les conférences, 1712-1746, Paris, École nationale supérieure des Beaux-Arts, 2010, 6 tomes, tome IV, 2 vol.
MICHEL, Christian, LICHTENSTEIN, Jacqueline, CASTEX, Jean-Gérald, CASTOR, Markus A. et GADY, Bénédicte (éd.), Conférences de l'Académie royale de peinture et de sculpture. Les conférences au temps de Jules Hardouin-Mansart, 1699-1711, Paris, École nationale supérieure des Beaux-Arts, 2009, 6 tomes, tome III.
MICHEL, Christian, LICHTENSTEIN, Jacqueline, CASTOR, Markus A., MARTIN, Marie-Pauline, PERRIN KHELISSA, Anne et LAZ, Laurens (éd.), Conférences de l'Académie royale de peinture et de sculpture. Les conférences, 1752-1792, Paris, École nationale supérieure des Beaux-Arts, 2015, 6 tomes, tome VI, 3 vol.
MICHEL, Christian, LICHTENSTEIN, Jacqueline, COUSSEAU, Henry-Claude et GAEHTGENS, Thomas W. (éd.), Conférences de l'Académie royale de peinture et de sculpture. Les conférences au temps d’Henry Testelin, 1648-1681, Paris, École nationale supérieure des Beaux-Arts, 2006, 6 tomes, tome I, 2 vol.
MICHEL, Christian, LICHTENSTEIN, Jacqueline, HAOUADEG, Karim, MARTIN, Marie-Pauline et PERRIN KHELISSA, Anne (éd.), Conférences de l'Académie royale de peinture et de sculpture. Les conférences au temps de Charles-Antoine Coypel, 1747-1752, Paris, École nationale supérieure des Beaux-Arts, 2012, 6 tomes, tome V, 2 vol.
NIDERST, Alain, « La ressemblance au XVIIe siècle », Le portrait, Rouen, Université de Rouen, 1987, p. 255-263.
POMMIER, Édouard, Théories du portrait : de la Renaissance aux Lumières, Paris, Gallimard, 1998.
RIONDET, Philippe, « Le portrait au XVIIe siècle : concept de beauté et principe de ressemblance », Histoire de l'art, 37-38, 1997, p. 55-68.
SCHIEDER, Martin , « "Les Portraits sont devenus un spectacle nécessaire à chaque Français". Le discours esthétique sur le portrait au milieu du XVIIIe siècle », dans MICHEL, Christian et MAGNUSSON, Carl (éd.), Penser l’art dans la seconde moitié du XVIIIe siècle : théorie, critique, philosophie, histoire, Actes du colloque de Lausanne, Paris, Somogy, 2013, p. 41-58.
SCHNEIDER, Marlen, « L'absence des mots : l'échec de la théorie académique face aux genres "hybrides" », dans HECK, Michèle-Caroline, FREYSSINET, Marianne et TROUVÉ, Stéphanie (éd.), Lexicographie artistique : formes, usages et enjeux dans l'Europe moderne, Actes du colloque de Montpellier et Paris, Montpellier, PULM, 2018, p. 291-303 [En ligne : dx.doi.org/10.26530/OAPEN_644313 consulté le 15/03/2018].
WILLIAMS, Hannah, Académie Royale: A History in Portraits, Farnham, Routledge, 2015.

FILTERS

CONCEPTUAL FIELDS

LINKED QUOTATIONS

2 sources
3 quotations

Quotation

Titian was the best Colourer, perhaps, that ever was ; he Designed likewise very well, but not very exactly ; the Airs of his Heads for Women and Children are admirable, and his Drapery loose and noble ; his Portraits are all Master-pieces, no man having ever carried Face-Painting so far ; the Persons that he has drawn having all the Life and Spirit as if they were alive ;

portrait

Conceptual field(s)

GENRES PICTURAUX → portrait
CONCEPTS ESTHETIQUES → nature, imitation et vrai

Quotation

Friend.
 
            What is properly the Colouring of a Piece of Painting ?
 
                        Traveller.
 
           
It is the Art of employing the Colours proper to the Subject, with a regard to the Lights and Shadows that are incident to the Story, either according to the Truth of it, or to the Painter’s Invention : [...] As for Face-Painting alone, it is to be manage another way, for there you must do precisely what Nature shows you.
           Tis true, that Beautiful Colours may be employed, but they must be such as make not your Piece like a Picture, rather than like Nature it self ; and particularly, you must observe to express the true Temper as well as the true Phisionomy of the Persoms that are Drawn ; for it would be very absurd to give a Smiling, Airy Countenance to a Melancholly Person ; or, to make a Young, Lively Woman, Heavy and Grave. ’Tis said of Apelles, that he expressed the Countenance and true Air of the Persons he Drew, to so great a degree, that several Physionomists did predict Events upon his Pictures to the Persons Drawn by him, and that with true Success. If after that, you can give your Picture a great Relievo, and make your Colours Represent the true Vivacity of Nature, you have done your Work as to that part of Painting, which is no small one, being, next to History, the most difficult to obtain ; for though there be but little Invention required, yet ‘tis necessary to have a Solid Judgment and Lively Fancy.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
GENRES PICTURAUX → portrait
CONCEPTION DE LA PEINTURE → couleur
CONCEPTS ESTHETIQUES → convenance, bienséance

Quotation

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 ;

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

Conceptual field(s)

GENRES PICTURAUX → portrait