WHOLE TOGETHER (expr.)

COSA INISEME (ita.) · FACCIA UN CORPO (ita.) · GANZE COMPOSITION (deu.) · GANZES STÜCK (deu.) · GANZES WESEN (deu.) · GEHEELE BESLAG (nld.) · TOUT-ENSEMBLE (fra.) · ZUSAMMENKUNST (deu.)
TERM USED AS TRANSLATIONS IN QUOTATION
TOUT-ENSEMBLE (fra.)
TERM USED IN EARLY TRANSLATIONS
TOUT-ENSEMBLE (fra.)
HECK, Michèle-Caroline, « TOUT-ENSEMBLE », 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. 452-456.
LICHTENSTEIN, Jacqueline, La couleur éloquente  : rhétorique et peinture à l’âge classique, Paris, Flammarion, 1999.
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, Roger de Piles’ Theory of Art, New Haven - London, Yale University Press, 1985.
PUTTFARKEN, Thomas, The Discovery of Pictorial Composition: Theories of Visual Order in Painting 1400-1800, New Haven - London, Yale University Press, 2000.

FILTERS

LINKED QUOTATIONS

1 sources
2 quotations

Quotation

Every Picture should be so contriv’d, as that at a Distance, when one cannot discern what Figures there are, or what they are doing, it should appear to be composed of Masses, Light, and Dark ; the Latter of which serve as Reposes to the Eye. The Forms of These Masses must be Agreeable, of whatsoever they consist, Ground, Trees, Draperies, Figures, &c. and the Whole together should be Sweet, and Delightful, Lovely Shapes and Colours without a Name ; of which there is an infinite Variety.
And ‘tis not enough that there be Great Masses ; they must be Subdivised into Lesser Parts, or they will appear Heavy, and Disagreeable : Thus tho’ there is evidently a Broad Light (for Example) in a piece of Silk when covering a whole Figure, or a Limb, there may be Lesser Folds, Breakings, Flickerings, and Reflections, and the Great Mass yet evidently preserv’d.

Conceptual field(s)

EFFET PICTURAL → qualité de la composition
SPECTATEUR → perception et regard

Quotation

But ‘tis not enough that the Colours in themselves are Beautiful singly, and that there be Variety, They must be set by one another so as to be mutually assistant to each other ; and this not only in the Object painted, but in the Ground, and whatsoever comes into the Composition ; so as that every Part, and the Whole together may have a pleasing effect to the Eye ; such a Harmony to It as a good piece of Musick has to the Ear ; But for which no certain Rules can be given no more than for that : Except in some few General Cases which are very Obvious, and need not therefore be mention’d here.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs