AFMAELEN (v.)

ABMALEN (deu.) · IMITATE (TO) (eng.) · IMITER (fra.) · PAINT (TO) (eng.) · PEINDRE (fra.)
TERM USED IN EARLY TRANSLATIONS
ABMALEN (deu.) · IMITARE (lat.) · IMITATE (TO) (eng.) · PAINT (TO) (eng.) · PINGERE (lat.) · REPRESENT (TO) (eng.)

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LINKED QUOTATIONS

4 sources
5 quotations

Quotation

[...] 't en waer saeck dat die ghene noch verder gingen de welcke dese wonderen der Nature niet alleen nae de maete des menschelicken vernufts beschouwen, maer oock de ghelijckenisse der selvigher wonderen nae 't leven wonderbaerlick af-maelen.

[Suggested translation, Marije Osnabrugge:] …it is necessity that those go even further, who observe these wonders of Nature not only to the extent of human ingenuity, but also wonderfully reproduce the similitude after life of the same wonders.

term translated by IMITARE in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., 2
term translated by IMITATE (TO) in JUNIUS, Franciscus, The Painting of the Ancients, in Three Bookes : declaring by Historicall Observations and Examples, the Beginning, Progresse, and Consummation of that most Noble Art. And how those Ancient Artificers attained to their still so much admired Excellencie. Written first in latine by Franciscus Junius, F. F. And now by him englished, with some Additions and Alterations, trad. par JUNIUS, Franciscus, London, Richard Hodgkinsonne, 1638., 4

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Quotation

Apelles heeft oock dinghen gheschildert die niet en konnen af-gemaelt worden; als naemelick donder-slaeghen, weder-licht, blixem. Plin. Xxxv.10. Soo dat Theophylactus Simocasus hier op een oogh schijnt ghehadt te hebben, als hy seght {epist. 37}, dat de Schilders sich onder-winden soodaenighe dinghen uyt te drucken, die de Nature selver niet en kan ghedoen.

[Suggested translation, Marije Osnabrugge:] Apelles has also painted things that cannot be reproduced; such as for example thunderbolts, heat lightning, lightning, (…) So that Theophylactus Simocasus seems to have thought of this, when he says {…}, that the Painters strain themselves to express such things, that Nature itself cannot do.

From this extract, it is clear that Junius associates ‘afmaelen’ with painting directly after something which is before the artist’s eyes. Here, he remarks that ‘afmaelen’ is not possible in the case of temporary things like thunder and lightning, but that artists – in this case Apelles – have nonetheless painting such subjects. He then goes on to state that painters hereby manage to express something which Nature itself cannot. [MO]

term translated by PINGERE in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p.2
term translated by PAINT (TO) in JUNIUS, Franciscus, The Painting of the Ancients, in Three Bookes : declaring by Historicall Observations and Examples, the Beginning, Progresse, and Consummation of that most Noble Art. And how those Ancient Artificers attained to their still so much admired Excellencie. Written first in latine by Franciscus Junius, F. F. And now by him englished, with some Additions and Alterations, trad. par JUNIUS, Franciscus, London, Richard Hodgkinsonne, 1638., p.5

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Quotation

Maar ook om selfs Menschen lange na haar Dood, of diemen maar eens gesien heeft, of die ons van eenen anderen werden aangebragt, te konnen afmalen, datse een tamelijke gelijkenis sullen hebben. En op datwe de Gedagten en Verbeeldens-kragt, ontrent dese, even als ontrent de voorgaande, door eenig behulp-middel mogten ondersteund vinden, soo sullenwe ook dese Sweemsels onder eenige algemeene soorten of Geslagten, in afschetzing vertoonen [ndr: reference to illustration]; Welke ook soodanig kennelijk gereguleerd zijn, datter weynig Opsigtige Tronien sullen ontmoet werden, die niet met d’een of d’ander soort sullen schijnen over een te komen; of ten minsten daar na te Swemen.

[suggested translation, Marije Osnabrugge:] But also in order to paint People long after their Death, or those who one has only seen once, or those who are described to us by someone else, with a reasonable likeness. And in order for us to support the Thoughts and power of Imagination regarding this, as well as the aforementioned, with some sort of tool, as such we will also show these Expressions in some general types or categories, in an illustration [ndr: reference to illustration]; Which apparently are so regulated, that one will meet but a few Remarkable Faces, that do not coincide with one or the other category; or at least lean towards them.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la peinture
CONCEPTS ESTHETIQUES → nature, imitation et vrai

Quotation

{Besluit.} ’t Is nu niet noodig nader van scorpioenen te handelen: want uit al het gezegde, zal een Schilder, ’t leeven voor zig hebbende, die genoeg konnen afmaalen, […]

[translation: BEURS, en préparation, transl. Myra Scholz:] {Conclusion} Now it is not necessary to go into more detail about scorpions, for from everything that has already been said, a painter that has the life situation before him will be able to paint it well enough. […]

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Quotation

DEwyl wy genoodzaakt zyn de wonderen der Natuure niet alleenlyk na de maate des menschelyken vernufts te beschouwen, maar ook de gelykenisse derzelve wonderen, die de waereld in haaren schoot vervat, na 't leeven op het allernaauwkeurigste af te maalen; zo zullen wy tegenwoordig tot de opmerkingen van het allerschoonste der dingen treeden [… Is 'er wel iets ter waereld dat men met penceel en verw niet kan nabootsen, 't zy hitte, koude, dag en nacht, aarde, lucht, water, vuur, wind, donderslag […] ja zelfs onzichtbaare dingen, gelyk de klank van een bazuin of hoorn? enz.

[D'après DE LAIRESSE 1787, p. 448-450:] Comme le peintre est non-seulement obligé de connoître les merveilles de la nature ; mais qu’il doit encore pouvoir représenter, avec la plus grande vérité possible tous les objets, il est nécessaire que nous fassions quelques réflexions sur la plus belle production inanimée […]il n’y a rien au monde qu’on ne puisse rendre [NDR : imiter avec un pinceau et la peinture] sur la toile : le jour, la nuit, le froid, la chaleur, la terre, le ciel ou l’air, l’eau, le feu, le vent la foudre […] & même les choses invisibles, tels que le son d’une trompette […]

term translated by REPRESENT (TO)
term translated by ABMALEN

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai