HISTORY PAINTING

HISTORY PAINTING (n.)

GESCHICHT-MALEREI (deu.) · HISTOIRE (fra.) · HISTORIA (ita.) · HISTORIENMALEREI (deu.) · ISTORIA (ita.)
TERM USED AS TRANSLATIONS IN QUOTATION
HISTOIRE (fra.)
BLANC, Jan, « HISTOIRE », 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. 263-270.
COOKE, Peter et LÜBBREN, Nina (éd.), Painting and narrative in France, from Poussin to Gauguin, New York, Routledge, 2016.
GAEHTGENS, Thomas W. (éd.), Historienmalerei, Darmstadt, Wissenschaftliche Buchgesellschaft, 2003.
HANSON, Craig A., The English Virtuoso: Art, Medicine, and Antiquarianism in the Age of Empiricism, Chicago, University of Chicago Press, 2009.
HENRY, Christophe, « La peinture en question : genèse conflictuelle d’une fonction sociale de la peinture d’histoire en France au milieu du XVIIIe siècle », dans GAEHTGENS, Thomas W., RABREAU, Daniel, MICHEL, Christian et SCHIEDER, Martin (éd.), L’Art et les normes sociales au XVIIIe siècle, Actes du colloque de Paris, Paris, Éd. de la Maison des sciences de l’homme, 2001, p. 459-476.
JOLLET, Étienne, « Towards a Study of Narrative in Painting: the Early Modern Period », dans COOKE, Peter et LÜBBREN, Nina (éd.), Painting and narrative in France, from Poussin to Gauguin, London, Taylor & Francis Ltd, 2016, p. 211-224.
KIRCHNER, Thomas, Le héros épique. Peinture d’histoire et politique artistique dans la France du XVIIe siècle, Paris, Éd. de la Maison des sciences de l’homme, 2008.
WRIGLEY, Richard, « But is it serious », The Oxford Art Journal, XXXVIII/1, 2015, p. 143-148.

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CONCEPTUAL FIELDS

LINKED QUOTATIONS

1 sources
1 quotations

Quotation

Traveller.
           
The World here in our Northern Climates has a Notion of Painters little nobler than of Joyners and Carpenters, or any other Mechanick, thinking that their Art is nothing but the daubing a few Colours upon a Cloth, and believing that nothing more ought to be expected from them at best, but the making a like Picture of any Bodys Face.
            Which the most Ingenious amongst them perceiving, stop there ; and though their Genius would lead further into the noble part of History Painting, they check it, as useless to their Fortune, since they should have no
Judges of their Abilities, nor any proportionable Reward of their Undertakings. So that till the Gentry of this Nation are better Judges of the Art, ’tis impossible we should ever have an Historical Painter of our own, nor that any excellent Forreigner should stay amongst us.

Conceptual field(s)

GENRES PICTURAUX → peinture d’histoire
SPECTATEUR → jugement