GROUP (n.)

AEN EEN-BINDINGH (nld.) · GEKOPPELDE BEELDEN (nld.) · GROEP (nld.) · GROUPE (fra.) · GRUPPE (deu.) · GRUPPO (ita.) · HAUFEN (deu.) · KOPPELING (nld.) · SAMENHOPING (nld.) · SAMENKNOPING (nld.) · SAMEN-ROEPING (nld.) · TROEPING (nld.)
TERM USED AS TRANSLATIONS IN QUOTATION
GROUPE (fra.)
TERM USED IN EARLY TRANSLATIONS
GROUPE (fra.)
BENJAMIN, Walter, « Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit », dans ADORNO, Theodor Wiesengrund et TIEDEMANN, Rodolf (éd.), Gesammelte Schriften, Frankfurt am Main, Suhrkamp, 1974, 3 vol., vol. II.
CRARY, Jonathan, Suspensions of Perception. Attention, Spectacle and Modern Culture, Cambridge, MIT Press, 1999.
DETHLEFS, Hans Joachim, « GROUPE », 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. 246-251.
MAGENDIE, Maurice, La politesse mondaine et les théories de l’honnêteté, en France au XVIIe siècle, de 1600 à 1660, Genève, Slatkine Reprints, 1993.
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.
PUTTFARKEN, Thomas, The Discovery of Pictorial Composition: Theories of Visual Order in Painting 1400-1800, New Haven - London, Yale University Press, 2000.

FILTERS

CONCEPTUAL FIELDS

LINKED QUOTATIONS

2 sources
4 quotations

Quotation

Precepts about Ordonnance and Design. As Likewise for Drawing by the Life.
In Designing a Peice of History we must have greatest Regard to the Principal
Group, that the Lights fall strongest on it, and more especially on the Cheif Figure that it be of the first Character and most Finishd, being the Eye of the work.
            That the
Group be sustain’d by something that seems loose about it, which serves to extend and continue it to some other Group by, otherwise the Diminution will be too apparent, and break to much into Heaps, and the Eye not descend naturally from one to another, which must, begining at the Principall, fall according to the Mind of the Story.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → groupe
CONCEPTION DE LA PEINTURE → composition

Quotation

Group ; a Knot of Figures together.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → groupe

Quotation

There are Pictures representing not one particular Story, but the History of Philosophy, of Poetry, of Divinity, the Redemption of Mankind, and the like : Such is the School of Athens, the Parnassus, the Picture in the Vatican commonly call’d the Dispute of the Sacrament, all of Rafaelle ; and the large one of Frederico Zuccaro of the Annunciation, and God the Father, with a Heaven, the Prophets, &c. Such Compositions as These being of a different nature are not subject to the same Rules with Common Historical Pictures ; but Here must be Principal, and Subordonate Figures, and Actions ; As the Plato and Aristotle in the School of Athens, the Apollo in the Parnassus, &c.
Now I have mention’d this Design, I cannot pass it over without going a little out of my way to observe some Particulars of that Admirable Group of the three Poets,
Homer, Virgil, and Dante ; […].
The Figure of
Homer is an admirably one, and manag’d with great propriety ; He is Group’d with others, but is nevertheless alone :

term translated by GROUPE in RICHARDSON, Jonathan, Traité de la Peinture, Par Mr. Richardson, le Père, Tomes I. et II. Contenant, Tome I. Un Essai sur la Théorie de la Peinture ; Tome II. Un Essai sur l'art de critiquer, en fait de Peinture ; & un Discours sur la Sience d'un Connoisseur. Traduit de l'Anglois; Revu & Corrigé par l'Auteur., trad. par RUTGERS, Antoine, Amsterdam, Herman Uytwerf, 1728, 2 vol., vol. I., p. 54-55.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → groupe
CONCEPTION DE LA PEINTURE → composition

Quotation

Ananias is the Principal Figure in the Carton which gives the History of his Death ; as the Apostle that pronounces his Sentence is of the Subordinate Group, which consists of Apostles. (Which therefore is Subordinate Group, because the Principal Action relates to the Criminal, and thither the Eye is directed by almost all the Figures in the Picture.) S. Paul is the chief Figure in that Carton where he is Preaching, and amongst his Auditors One is eminently distinguish’d, who is Principal of that Group ; and is apparently a Believer, and More so than any of them, or he had not had that Second Place in a Picture conducted by so great a Judgment as that of Rafaëlle’s. These Principal, and Subordinate Groupes, and Figures, are so apparent, that the Eye will naturally fix first upon one, then upon the other, and consider each in Order, and with Delight.

term translated by GROUPE in RICHARDSON, Jonathan, Traité de la Peinture, Par Mr. Richardson, le Père, Tomes I. et II. Contenant, Tome I. Un Essai sur la Théorie de la Peinture ; Tome II. Un Essai sur l'art de critiquer, en fait de Peinture ; & un Discours sur la Sience d'un Connoisseur. Traduit de l'Anglois; Revu & Corrigé par l'Auteur., trad. par RUTGERS, Antoine, Amsterdam, Herman Uytwerf, 1728, 2 vol., vol. I., p. 103-104.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → groupe