GEBRUIK (n. n.)

USE (eng.) · USUS (lat.)
TERM USED IN EARLY TRANSLATIONS
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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.

In the introduction to the second book, Junius discusses the competition amongst the earliest painters. He names two reasons why artists work diligently in producing art. The most practical reason is out of consideration of the use or application of art works (‘gebruik’). In other words, because artists consider how their works will be used. The second reason, on which he elaborates with more detail, is the search for fame or honor (‘eer’). [MO]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture

Quotation

Ghelijck nu de soete vermaeckelickheyd, die uyt een gheluckighe nae-boetsinghe der ouder Eenvoudigheyd onstaet, dese Konste grootelick voordgheholpen heeft; soo sijn de selvighe oock tot meerder volmaecktheyd ghebraght door ’t menighvuldighe ghebruyck het welck men in voorleden tijden daer van maeckte.

[Suggested translation, Marije Osnabrugge:] Just like the sweet amusement, which springs from a fortunatueimitation of the old Simplicity, has advanced this Art much further; as such it has been brought to further perfection by the manifold use that one used to make of it in previous times.

Junius mentions two reasons for progress and perfection in Art: ‘vermakelijkheid’ (amusement) and ‘gebruik’ (use). It appears that with the latter reason, Junius refers to the practical function (‘gebruik’) of art. In the following chapters, Junius lists many different uses of sculpture and painting, often of a practical nature. This section is much shorter in the Latin edition. [MO]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture

Quotation

d’Aenstokinge tot ondeughden, seght Plinius {in proemio Lib. 33} heeft de Konst oock vermeerdert. Want eenighe waeren daer seer wel mede ghepast dat haere drinck-vaten met het graveersel van allerley gheyle onkuysheyd verciert souden sijn; even als of hun den dranck door dese onvlatighe vuyligheden smaeckelicker soude worden ghemaeckt. Daedalus heeft een houte Koe konstighlick ghewrocht, om de beestelicke lusten van de raesende Pasiphae door dit middel te boeten, siet Hyginus, fabula 40. Het soude ons licht vallen meer andere exempelen van sulcken groven mis-bruyck der Konste byte brenghen, ’t en waer saecke dat wy voorghenomen hadden den voord-gangh deser Konsten maer alleen uyt het eerlicke of ten minsten uyt het onschadelicke ghebruyck der selvigher te haelen.

[Suggested translation, Marije Osnabrugge:] The instigation to vice, says Pliny {…} has also augmented the Art. Because some were very much content that their casks were embellished with the engraving of all sorts of randy indecency; just as if the booze would be made more tasteful by this obscene dirt. Daedalus has artfully made a wooden Cow, to satisfy the bestial appetites of the razing Pasiphae, (…). It would be easy for us to come up with more examples of such grave misuse of the Art, it is necessary that we have the intention to obtain the progress of these Arts only from the honest or at least the innocent use of it.

I have chosen to only cite the introductory paragraph of this Chapter (VIII). The rest of the chapter, as well as the following chapter (IX) consists of a listing of different uses of art. The formulation in this section is much different in the Latin and English edition. [MO]

mis-bruyck

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture