STORY (n.)

HISTOIRE (fra.) · ISTORIA (ita.) · STORIA (ita.)
TERM USED IN EARLY TRANSLATIONS
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.
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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LINKED QUOTATIONS

2 sources
2 quotations

Quotation

Traveller.
           
I must then repeat to you what I told you at our first Meeting [ndr : Dialogue I, « Explaining the Art of Painting »] ; which is, That the Art of Painting has three Parts ; which are, Design, Colouring, and Invention ; and under this third, is that which we call Disposition ; which is properly the Order in which all the Parts of the Story are disposed, so as to produce one effect according to the Design of the Painter ; and that is the first Effect which a good Piece of History is to produce in the Spectator ; that is, if it be a Picture of a joyful Event, that all that is in it be Gay and Smiling, to the very Landskips, Houses, Heavens, Cloaths, &c. And that all the Aptitudes tend to Mirth. The same, if the Story be Sad, or Solemn ; and so for the rest. And a Piece that does not do this at first sight, is most certainly faulty though it never so well Designed, or never so well Coloured ; nay, though there be Learning and Invention in it ; for as a Play that is designed to make me Laugh, is most certainly an ill one if it makes me Cry. So an Historical Piece that doth not produce the Effect it is designed for, cannot pretend to an Excellency, though it be never so finely Painted.

Conceptual field(s)

CONCEPTION DE LA PEINTURE → composition
CONCEPTS ESTHETIQUES → convenance, bienséance
L’HISTOIRE ET LA FIGURE → sujet et choix

Quotation

But these Liberties [ndr : prises envers la vérité historique et naturelle] must be taken with great Caution and Judgment ; for in the main, Historical, and Natural Truth must be observed, the Story may be embellish’d, or something of it par’d away, but still So as it may be immediately known ; nor must any thing be contrary to Nature but upon great Necessity, and apparent Reason. History must not be corrupted, and turn’d into Fable or Romance : Every Person, and Thing must be made to sustain its proper Character ; and not only the Story, but the Circumstances must be observ’d, the Scene of Action, the Countrey, or Place, the Habits, Arms, Manners, Proportions, and the like, must correspond. This is call’d the observing the Costûme.

history

term translated by HISTOIRE 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. 40.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → sujet et choix
CONCEPTS ESTHETIQUES → nature, imitation et vrai
CONCEPTS ESTHETIQUES → convenance, bienséance