GROUND (n.)

CHAMP (fra.) · FELD (deu.) · FOND (fra.) · GRUND (deu.) · PRIMUURSEL (nld.)
TERM USED AS TRANSLATIONS IN QUOTATION
CHAMP (fra.) · FOND (fra.) · GROND (nld.) · REFLET (fra.) · TERRASSE (fra.)
BOEHM, Gottfried, Der Grund. Das Feld des Sichtbaren, München, Fink Verlag, 2012.
DETHLEFS, Hans Joachim, « CHAMP », 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. 116-120.
DETHLEFS, Hans Joachim, « Das ‘spatiierende’ Auge – Körperliche und mediale Räumlichkeit in Johann Georg Sulzers Konzeptionen der Haltung », dans KURBACHER, Frauke A. (éd.), Was ist Haltung?, Würzburg, Königshausen & Neumann, 2017, p. 249-274.
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.
SCHAPIRO, Meyer, « On Some Problems in the Semiotics of Visual Art: Field and Vehicle in Image-Signs », Simiolus: Netherlands Quarterly for the History of Art, 6/1, 1972 - 1973, p. 9-19 [En ligne : http://www.jstor.org/stable/3780400 consulté le 08/04/2018].
STUMPEL, Jeroen, « On grounds and backgrounds: some remarks about composition in Renaissance painting », Simiolus: Netherlands Quarterly for the History of Art, 18/4, 1988, p. 219-243 [En ligne : http://www.jstor.org/stable/3780701 consulté le 08/04/2018].

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LINKED QUOTATIONS

2 sources
2 quotations

Quotation

Traveller,
Some Observations there are, as those Figures which are placed on the foremost Ground, or next the Eye, ought to have the greatest Strength, both in their Lights and Shadows, and Cloathed with a lively Drapery ; Observing, that as they lessen by distance, and are behind, to give both the Flesh and the Drapery more faint and obscure Colouring. And this is called an Union in Painting, which makes up an Harmony to the Eye, and causes the Whole to appear one, and not two or three Pictures
.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition

Quotation

Chap. I, Of Etching with Aqua fortis.
There are several ways for
Etching, and several Grounds of divers colours, used by several men. I shall deliver here onely one, and that so familiar, easie, and true, that I believe there is not a better Ground, nor a more accurate way performing the work intended, than that which shall be here taught ; it being the only way, so many years practised, and to this day continued by that unparallel’d designer and incomparable Etcher in Aqua fortis, Mr. Hollar ; the manner of performing the whole work is as followeth.


SECT. I.
To make Mr. Hollar’s Ground, and how to Etch in Copper, and what Instruments ought to be used in the practice thereof.
Take three parts of
Virgins Wax, one part of Asphaltum, one part of the best Mastick […] ; so is your Ground prepared.


SECT. II.
How to prepare your Copper.
Your Copper must be well planisht, that it may lie level ; and before you lay on the Ground, take your Plate, and with a Charcoal well burnt, coal it over with very clean water ; then wash it off with clean Water never used before, and set it sloping to run off ; when it is dry, then scrape some Chalk fine all over it, and with a very clean fine rag rub it over ; but let not your fingers touch upon the Plate, till you have put the Ground on, which you must lay on thus.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la gravure