HAND (n.)

HAND (nld.) · HAND (deu.) · MAIN (fra.) · MANO (ita.)
TERM USED AS TRANSLATIONS IN QUOTATION
HAND (nld.) · MAIN (fra.)
TERM USED IN EARLY TRANSLATIONS
MAIN (fra.)

FILTERS

CONCEPTUAL FIELDS

LINKED QUOTATIONS

4 sources
6 quotations

Quotation

Of the side face without any Measure.
Being desireous to make the side
face without any Triangle or Measure, which with a little care and practice, observing the distances and Measures which will serve for Direction, because the Head and other parts of the Body ought to be proportional, and made from Measures ; it will easily follow, Framing or Traceing many, you may not only Facilitate it by the Eye and Judgement, but also accommodate the Hand, to Trace and draw, all things right, for it is true that the Eye will have its place. I having drawn certain stroaks or draughts from the life of nature, and reduced it with the Pencil into Colours, have found it come off punctually right, of a correspondent bigness to that, which I have imitated, and have not found any thing disproportioned, but have alwayes found it fall out right as I would have it, therefore I say that this Rule, and Measure which I have set down, in the Porphile or other opositions of the Head, is not any hindrance to the excellency of the Art, nor will weaken your worth, but will serve for a general Rule being once possest therewith, and also become prevalent when occasion shall require, to make a Head Ten times as big as the Life ; […].

Conceptual field(s)

L’ARTISTE → qualités

Quotation

Traveller,
           
Design is the Expressing with a Pen, or Pencil, or other Instrument, the Likeness of any Object by its out Lines, or Contours ; and he that Understands and Mannages well these first Lines, working after Nature still, and using extream Diligence, and skill may with Practice and Judgment, arrive to an Excellency in the Art.
                        Friend,
            Me thinks that should be no difficult Matter, for we see many whose Inclination carys them to Draw any thing they see, and they perform it with ease.
                       
Traveller,
            I grant you, Inclination goes a great way in disposing the Hand, but a strong Imagination only, will not carry a Painter through ; For when he compares his Work to
Nature, he will soon find, that great Judgment is requisite, as well as a Lively Fancy ; and particularly when he comes to place many Objects together in one Piece or Story, which are all to have a just relation to one another. There he will find that not only the habit of the Hand but the strength of the Mind is requisite ; therefore all the Eminent Painters that ever were, spent more time in Designing after the Life, and after the Statues of the Antients, then ever did in learning how to colour their Works ; that so they might be Masters of Design, and be able to place readily every Object in its true situation.

Conceptual field(s)

L’ARTISTE → qualités
MANIÈRE ET STYLE → le faire et la main

Quotation

Traveller,
           
You must know, that the Italians have a Way of Painting their Pallaces, both within and without, upon the bear Walls, and before Oyl Painting came up, most Masters wrought that Way ; and it is the most Masterly of all the ways of Painting, because it is done upon a Wall newly Plaistered, and you must Plaister no more, than what you can do in a Day ; the Colours being to Incorporate with the Mortar, and dry with it, and it cannot be Touched over again, as all other Ways of Painting may : This is that they call Painting in Fresco.
                        Friend,
            This must require a very Dexterous and quick Hand.
                        Traveller.
            Yes, and a good Judgment too ; f
or the Colours will show otherwise when they are Dry, than they did when they were Wet : Therefore there is great Practice required in Mannaging them, but then this Way makes amends for its Difficulties ; for the longer it stands, it acquires still more Beauty and Union, it resisting both Wind and Rain. 

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

Quotation

However I will here make him [ndr : au lecteur] an Offer of an Abstract of what I take to be those by which a Painter, or Connoisseur, may safely conduct himself, referring to the Book it self for further Satisfaction. [...] VI. And Whether the Colours are laid on Thick, or Finely Wrought it must appear to be done by a Light, and Accurate Hand. [...] The Picture is highly finish’d, even in the parts the most inconsiderable, but in once, or two places there is a little heaviness of Hand ; The Drawing is firmly pronounc’d, and Sometimes, chiefly in the Faces, Hands and Feet ‘tis mark’d more than ordinary with the point of the Pencil.

term translated by MAIN 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. 12-13

Conceptual field(s)

EFFET PICTURAL → touche
MANIÈRE ET STYLE → le faire et la main

Quotation

The Composition is unexceptionable [ndr : dans Poussin, Tancrède et Herminie] : There are innumerable Instances of Beautiful Contrasts ; [...] VI. And Whether the Colours are laid on Thick, or Finely Wrought it must appear to be done by a Light, and Accurate Hand. [...] The Picture is highly finish’d, even in the parts the most inconsiderable, but in once, or two places there is a little heaviness of Hand ; The Drawing is firmly pronounc’d, and Sometimes, chiefly in the Faces, Hands and Feet ‘tis mark’d more than ordinary with the point of the Pencil.

term translated by MAIN 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. 51-53.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

Quotation

HANDLING
BY this Term is understood the manner in which the Colours are left by the Pencil upon the Picture ; as the manner of using the Pen, Chalk, or Pencil in a Drawing is the Handling of that Drawing.
This consider’d in it self abstractedly is only a piece of Mechanicks, and is Well, or Ill as ‘tis perform’d with a Curious, Expert ; or Heavy, Clumsey Hand ; and that whether ‘tis Smooth, or Rough, or however ‘tis done ; for all the Manners of Working the Pencil may be Well or Ill in their kind ; and a fine light Hand is seen as much in a Rough, as in a Smooth manner.

term translated by MAIN 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. 131-132.

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main