ABRISS (deu.) · BOOTS (nld.) · CROQUIS (fra.) · ENTWURF (deu.) · ESQUISSE (fra.) · GRUNDRISS (deu.) · ONTWERPSCHETS (nld.) · RISS (deu.) · SCHETS (nld.) · SCHIZZO (ita.) · UNTERRISS (deu.) · VORRISS (deu.)
ESQUISSE (fra.) · ESQUISSÉ (fra.) · PENSÉE (fra.) · SCHETS (nld.) · TABLETTE (fra.)
BOUBLI, Lizzie, L’invention de l’esquisse dans l’Italie de la Renaissance, Paris, CNRS Éd., 2018.
BOUBLI, Lizzie, « ESQUISSE », 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. 201-205.
BOUBLI, Lizzie, « Entre esquisse et brouillon, le primo pensiero », Genesis, 37, 2013, p. 177-187 [En ligne : consulté le 09/04/2018].
GRASSI, Luigi, « I concetti di schizzo, abbozzo, macchia, ‘non finito’ e la costruzione dell’opera d’arte », Studi in onore di Pietro Silva per la Facoltà di Magistero dell’Università di Roma, Firenze, Le Monnier, 1957, p. 97-106.
JANNERET, Michel, 'Perpetuum mobile'. Métamorphoses des corps et des œuvres de Vinci à Montaigne, Paris, Macula, 1997.
KEMP, Martin, « From ‘Mimesis’ to ‘Fantasia’: the Quattrocento vocabulary of creation, inspiration and genius in the visual arts », Viator. Medieval and Renaissance Studies, 1977, p. 347-398 [En ligne : consulté le 30/03/2018].
SCIOLLA, Gianni Carlo, « "Schizzi, macchie e pensieri" : il disegno negli scritti d’arte dal Rinascimento al Romanticismo », dans SCIOLLA, Gianni Carlo, PETRIOLI TOFANI, Annamaria et PROSPERI VALENTI RODINÒ, Simonetta (éd.), Il Disegno. Forme, tecniche, significati, Milano, Silvava editoriale, 1991, p. 10-37.
SHANK SMITH, Kendra, « L’esquisse et l’intervalle de la création », Genesis, 14, 2000, p. 165-177 [En ligne : consulté le 09/04/2018].



2 sources
2 quotations


When a Painter intends to make a History (for example) the way commonly is to design the thing in his Mind, to consider what Figures to bring in, and what they are to Think, Say, or Do ; and then to Sketch upon Paper this Idea of his ; and not only the Invention, but Composition of his intended Picture : This he may alter upon the same Paper, or by making other Sketches, till he is pretty well determin’d as to that ; (and this is that first Sense in which I said the Term Drawing, or Designing was to be understood.) In the next place his Business is to consult the Life, and to make Drawings of particular Figures, or parts of Figures, or of what else he intends to bring into his Work, as he finds necessary ; together also with such Ornaments, or other things of his Invention, as Vases, Frizes, Trophies, &c. till he has brought his Picture to some Perfection on Paper, either in these loose Studies, or in one entire Drawing. This is frequently done, and sometimes these Drawings are finish’d very highly by the Master, either that his Disciples might be able from them to make a greater Progress in the Grand Work, and so leave the less for Himself to do ; or because he made Advantage of such Drawings from the Person who employ’d him, or some other ; and perhaps sometimes for his own Pleasure.
Of these Drawings of all kinds, those great Masters […] made very many ; sometimes several for the same thing, and not only for the same Picture, but for one Figure, or part of a Figure ; and though too many are perish’d, and lost, a considerable Number have escap’d, and been preserved to our Times, some very well, others not, as it has happen’d : And these are exceedingly priz’d by all who understand, and can see their Beauty ; for they are the very Spirit, and Quintessence of the Art ; there we see the Steps the Master took, the Materials with which he made his Finish’d Paintings, which are little other than Copies of these, and frequently (at least in part) by some Other Hand ; but these are undoubtedly altogether his Own and true, and proper Originals.

drawing · study

Conceptual field(s)

GENRES PICTURAUX → peinture d’histoire
PEINTURE, TABLEAU, IMAGE → définition du dessin
PEINTURE, TABLEAU, IMAGE → statut de l'oeuvre : copie, original...