EENVOUD

EENVOUD (n. m.)

EINFALT (deu.) · SEC (fra.) · SIMPLICITAS (lat.) · SIMPLICITÉ (fra.) · SIMPLICITY (eng.)
TERM USED IN EARLY TRANSLATIONS
/ · EINFALT (deu.) · PLAINNESS (eng.) · SIMPLEX (lat.) · SIMPLICITAS (lat.) · SIMPLICITY (eng.)

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LINKED QUOTATIONS

3 sources
8 quotations

Quotation

Den verwaenden roem der ghener de welcke d'eenvoudigheydt der oudtster Schilderyen door een gantsch harde ende dorre maniere van doen soecken uyt te drucken dient ons alhier tot een exempel; want dese schicken sich maer alleen tot d'Imitatie van 't ghene hun eerst in d'oogh komt, sonder eens te bevroeden wat een sonderlinghe kracht en hoe groote Schatten der Konste onder dese eenvoudigheydt schuylen. Quint. X.2.

[Suggested translation, Marije Osnabrugge:] The conceited fame of those who try to express the simplicity of the oldest paintings by a rather hard and barren manner are an example here; because these only turn to Imitation of that which they see first, without considering which kind of extraordinary power and great Treasures of Art that hide underneath this simplicity.(…)

Anciens (les)
QUINTILIANUS

From this extract, it is apparent that Junius associates a certain hard and dry manner with the earliest paintings. He praises these works for their simplicity (‘eenvoud’), which one should try to understand. As such, he acknowledges the negative association one can have with the ‘hard’ manner, but he then states that there is more quality in it than meets the eye. [MO]

term translated by SIMPLEX in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 19
term translated by SIMPLICITY 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. 35

Conceptual field(s)

MANIÈRE ET STYLE → le faire et la main

Quotation

Doch overmids d’outste en beste Konstenaers de voornaemste kracht haeres wercks niet soo seer en stelden in ’t opghepronckte cieraet van schoone en kostelicke verwen als in een slecht effene maniere van wercken doe ter tijd ghebruyckelick, so plaght sich desen gantsch prijswaerdighen naer-yver ontrent d’eenvoudigheydt der Konste so gheluckighlick besigh te houden, dat de Konst-gherige Nae-yveraers de soete vermaeckelickheyd der konste (die uyt sulcken onbedwongen naevolghinghe ontstond) recht ghesmaeckt hebbende, met eene oock tot meerder neerstigheydt ontsteken wierden, niet alleen doer d’aenmerckinghe van het menighvuldighe gebruyck deser Konsten, maer oock door d’aenmerckinghe van d’overgroote eere die de Konstenaers allenthalven plaghten te genieten. Dese ghenoten eere was ’t smaeckelicke hengelaes, waer door haeren vlijt wierd opghescherpt om so gretighlick nae de Konst te snacken, dat sy haer selven met de daghelicksche Konst-oeffeningh van andere Meesters niet langher en verghenoegden, soeckende altijd door een vrymoedighe stoutvaerdigheyd yet niews aen te vanghen.

[Suggested translation, Marije Osnabrugge:] Yet while the oldest and best Artists did not place the main power of their work as much in the affected jewel of beautiful and expensive paints as in a bad plain manner of working which was common at that time, consequently this truly praiseworthy envy tends to happily busy itself with the simplicity of Art, that the Art-coveting Zealots – having truly tasted the sweet pleasure of art (which came forth from such unrestrained imitation), are immediately kindled to more diligence, not only out of consideration of the manifold application of these Arts, but also out of consideration of the major honor that Artists tend to enjoy everywhere. The experience of this honor was the tasty bait, because of which their diligence was sharpened to long eagerly after the Art in such a way, that they did no longer contend themselves with the daily Art-practice of other Masters, always searching to start something new because of a confident boldness.

term translated by SIMPLICITAS in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 50
term translated by PLAINNESS 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. 87-88

Conceptual field(s)

MANIÈRE ET STYLE → école
MANIÈRE ET STYLE → le faire et la main

Quotation

De rechte en slechte eenvoudigeyt deser Konsten heeft den voordgangh der selviger benevens andere middelen mede veroorsaeckt. Want ghelijck wy bevinden dat die ghene allernaest tot de volmaecktheyd quaemen, dewelcke d’aenghenaeme bevalligheyd haerer wercken niet soo seer en stelden in ’t ydele waenkunstighe verw-gepronck als wel in de kracht van een onvervalschte Teycken-konst ende in ’t naturelick ghebruyck van weynighe en gantsche ghemeyne verwen; so plaghten oock d’opdrechtelick goed-aerdighe Leerlinghen, die ’t met de Konste wel meynden en haere gewesene Leermeesters geen schande sochten aen te doen, sich aen dese gantsch loffelicke eenvoudigheyd standvastighlick te verbinden, den voornaemsten ernst haerer Aemulatie daerin stellende dat sy dese eygenschap der ouder Meesters recht wel moghten treffen.

[Suggested translation, Marije Osnabrugge:] The straightforward and bad simplicity of these Arts has caused its progress as well, amongst other things. Because just like we find that those came closest to perfection, who did not so much place the pleasant loveliness of their works in the vain delusional ‘paint-ostentation’ but rather in the power of the unadulterated Drawing and in the natural use of few and rather common colors; as such the sincere benevolent Students, who mean well with the Art and did not mean to bring shame to their former Masters, committing themselves firmly to this very praiseworthy simplicity, placing the primary aim of their Emulation in truly meeting with this characteristic of the old Masters.

This section of the tekst is much shorter in the Latin and English editions, where it only serves as an introduction to the citation from Isocrates. [MO]

term translated by SIMPLICITAS in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 68
term translated by SIMPLICITY 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. 117

Conceptual field(s)

CONCEPTS ESTHETIQUES → grandeur et noblesse
MANIÈRE ET STYLE → école

Quotation

Gelijck wy het oversulcks daer voor houden, dat de stucken van d’oude Meesters met allerley loffelicke deughden rijckelick vervult waeren; soo ghelooven wy mede vastelick, dat de prijswaerdigheyd haere wercken voornaemelick bestond in den roem van de seldsaeme proportionele eenvoudigheyt die in d’oude stockbeelden ende schilderijen met de nature selver schijnt te strijden.

[Suggested translation, Marije Osnabrugge:] Just like we therefore believe that the pieces of the old Masters were abundantly filled with all sorts of praiseworthy virtue; as such we steadily believe, that the praiseworthiness of their works mainly consisted of the fame of the rare proportional simplicity that appears to compete with nature itself in the old statues and paintings.

Anciens (les)

term translated by SIMPLEX in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 162
term translated by SIMPLICITY 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. 267
term translated by PLAINNESS 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. 267

Conceptual field(s)

EFFET PICTURAL → qualité de la composition

Quotation

Noch openbaert sich d’ongheloofelicke kracht deser Symmetrie allermeest in de Teycken-konst ofte in d’eerste afschetsinghe der ghevondener dinghen. Dies plaghten oock allerley Konst-vroede Mannen het schierlicke wel gheproportioneerde bewerp van een ghenoeghsaemlick door-kaude Inventie voor het voornaemste grond-werck deser Konsten te houden; wanneer naemelick d’arbeydsaeme Konstenaers haere eerste invallen, sonder ’t behulp van eenigh vermaeckelicke Coleuren, in enckele proportionele linien soo gheestighlick voor ooghen stellen, datmen allenthalven de levendighe kracht der dinghen selver in d’eenvoudigheyd haerer omtrecks en de slechtigheyd haerer eenverwigher binne-wercken verneemt.

[Suggested translation, Marije Osnabrugge:] Yet the unbelievable power of this Symmetry reveals itself most in the Art of Drawing or in the first sketch of the found things. Various Art-loving Men tended to keep this well-proportioned design of a sufficiently conceived Invention for the main groundwork of these Arts; namely when the diligent Artists envision their first ideas in a few proportional lines, without the help of any entertaining colours, that one learns everything about the lively power of things itself in the simplicity of its contour and the mediocrity of its one-coloured interior.

This section in the Dutch edition is different from the English and Latin edition. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité du dessin

Quotation

Dionysius Halicarnassensis {In Isaeo} stelt ons de eerste reden voor ooghen, wanneer hy drijft dat d’oude tafereelen in een gantsch wonderbaerlicke eenvoudigheyd der Coleuren haeren voornaemsten lof uyt de bevallighe nettigheyd der teyckeninghe trocken; ghelijck de nieuwe daer en teghen allermeest op ick en wete niet wat voor een verscheyden verwig cieraet stonden, als wesende slechtelick en gaer sorghelooslick gheteyckent, siet oock Themistius de Amicitia, daer hy ’t selvighe punt op de selvighe maniere voorstelt. De tweede reden vloeyt uyt d’eerste; want ghelijck d’eerste reden d’oude stucken boven de nieuwe verheft, van weghen d’eenvoudighe ende onbedwonghen bevalligheyd diemen daer in plaght te vinden, soo schijnt de tweede reden d’oude wercken allermeest te roemen, van weghen een gantsch voortreffelicke hooghwaerdigheyd ofte Majesteyt diese uyt d’eenvoudigheyd van d’oude Konste als noch behouden.Porphyrius {Lib. ii. de Abstinentia}, seght dat de nieuwe Beelden der Goden met verwonderinghe worden aenghesien, om de waerdigheyd des wercks; maer dat d’oude daerenteghen gheducht worden, om dat d’eenvoudigheyd haeres wercks met de heerlicke Majesteyt der Goden aller best overeen komt.

[Suggested translation, Marije Osnabrugge:] Dionysius Halicarnassensis {…} introduces us to the first reason, when he [writes?] that the old scenes with a rather miraculous simplicity of colours received their main praise from the graceful neatness of the drawing; like the new, on the other hand, insisted on a – I don’t know what kind of – painterly jewel, being badly and rather carelessly drawn, also see Themistius de Amicitia, where he makes the same point in the same manner. The second reason is based on the first; because like the first reason elevates the old pieces above the new, because the simple and unforced gracefulness that one tends to find in it, as such the second reason appears to praise the old works the most because of a rather excellent stateliness or Majesty that they maintain from the simplicity of the old Art. Porphyrius {…}, says that the new Images of the Gods are being watched with surprise, because of the dignity of the work; but that the old, on the other hand, are feared, because the simplicity of their work coincide the most with the glorious Majesty of the Gods.

Junius continues to explain the distinction between old (oud) and new (nieuw) art, expressing a strong preference for the former. He attributes a praiseworthy simplicity (eenvoud) of colours and a neatness (netheid) of design to the old style, which leads to a gracefulness (bevalligheid) as well as a certain stateliness (hoogwaardigheid, majesteit, waardigheid). The new works, on the other hand, use too many colours and are drawn badly (slecht) and careless (zorgeloos). [MO]

term translated by SIMPLICITAS in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 218-219
term translated by SIMPLICITY 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. 350-351

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs

Quotation

Aengaende voor eerst de Leeringh, {I. De Leer-tijt.} die moetmen vroeg beginnen, voorsichtigh aenleggen, ende van alles dat de algemeene Teyken-Konst, Bouw-konst, Perspectijf, Mensch-kunde, Ordineeringh ende Coloreeringh aengaet, neerstigh doorsoecken, ende arbeyden om van jonghs aen, sulcken fixen ende vaerdigen maniere aen te nemen, datmen in geene dingen verlegen blijve; noch oyt een arbeytsame pijlijckheyt in sijne Konst-Wercken en laet blijcken, maer de rechte eenvoudigheyt der nature kome te vertoonen; welcke alleen ende oock niet anders verkregen wordt, dan, na datmen van alles goede fondamenten geleyt heeft, want die Jongelingen welcke vande voornaemste gronden der Konsten weynigh wercks maecken, geven weynigh hope van seer geleert daer in te werden.

[suggested translation, Marije Osnabrugge:] First of all regarding the Education, {I. The Apprenticeship.} one should start it early, starting carefully, and diligently investigating all that concerns the general Art of Drawing, Architecture, Perspective, Anatomy, Composition and Coloring, and working to obtain such a firm and able manner right from childhood, that one will not be lacking in anything; nor ever show a laborious grieve in his Art Works, but display the true simplicity of nature; which is then only obtained after one has taken good principles of everything, because those young men who do not put that much work in the main principles of the Arts, have little hope to become very learned in them.

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai
CONCEPTS ESTHETIQUES → convenance, bienséance

Quotation

Wie nu het gezegde wel overweegd, moet met my toestaan, dat de deftigheid en welgemanierdheid twee uitneemende zaaken zyn, aan welke zo veel gelegen is, dat wanneer het in een schildery ontbreekt, men het zelve niet voor goed kan keuren: ja ik oordeel het de ziel van een konstig schildery te zyn. Het is met de schoone pronkzieraaden niet te doen, maar als een deftige en eedele ziel in een welgesteld lichchaam werkt, zyn alle die dingen [NDR : pronkzieraaden] onnut om de waare deftigheid uit te drukken; wanneer men met verstand, dan het zelve noch oppronkt, zo krygt het wel een grooter luyster, maar niet het wezen der zaak aangebragt, ook maakt zulks geen der hertstochten in de wezens. Rafaël, Poussyn, Dominiquin, noch Barotius, hebben daar niet van gehouden, en echter door hunne eenvoudigheid, de ongemeene deftigheid en grootsheid in hunne beelden vertoond.

[D'après DE LAIRESSE 1787, p. 127:] On conviendra donc avec moi, je pense, que la décence & la convenance sont deux qualités essentielles dans un tableau ; qu’elles en font même, pour ainsi dire, l’ame, & que sans elles aucun ouvrage ne peut être parfait. Il ne s’agit point de riches ornemens lorsqu’il faut exprimer la grandeur & la noblesse d’ame dans un beau corps ; quoique les accessoires servent, à la vérité, à donner plus de lustre à la chose, quand ils sont employés avec esprit ; sans qu’ils contribuent néanmoins au fond du sujet, ou à faire connoître les passions qui agitent les figures. Ni Raphaël, ni le Poussin, ni le Dominicain, ni le Baroche n’ont point fait usage de ces accessoires & ce n’est que par une noble simplicité, & en observant les convenances, qu’ils sont parvenus à cette grandiosité [NDR et dignité/noblesse] qu’on remarque dans toutes leurs productions.

In the German translation, this term is translated as 'einfältige Art'. [MO]

term translated by SIMPLICITY
term translated by /

Conceptual field(s)