KUNSTKENNER (n. m.)

CONNAISSANT (fra.) · CONNAISSEUR (fra.) · CONNOISSEUR (eng.) · KUNSTKENNER (deu.) · LIEBHABER (deu.)
TERM USED IN EARLY TRANSLATIONS
/ · KUNSTKENNER (deu.)

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Quotation

Hoovaerdighlick neus-wijse en koppighe menschen, die met een smaedighe verwonderingh het ghene hun niet aen en staet vaerdighlick veroordeelen ende verwerpen, behoeven sich insgelijks daer mede niet te quellen dat maghtige schatrijcke liefhebbers weynigh daer nae schijnen te vraeghen wat het hun kost, als sy slechts haeren lust moghen boeten; gemerckt dese dinghen gheacht behooren te worden nae het verghenoeghen de Konst-kenners daer in scheppen. Hy moet een dieper insicht in dese dingen hebben, die daer wel van meynt te oordeelen. Een Konst-gheleerd oogh kan maer alleen bespeuren wat daer in te vinden is.

[Suggested translation, Marije Osnabrugge:] Haughty, pedantic and stubborn men, who with slandering astonishment skillfully condemn and dismiss that which they do not like, should likewise not torture themselves [NDR: about the fact] that powerful wealthy Amateurs do hardly ask what it costs them, when they only may feed their desire; considering that it should be esteemed after the pleasure that Connoisseurs take in it. He, who intends to judge it well, should have a deeper insight in these things. An Art-educated eye can only detect what can be found in it.

term translated by / in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 46 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. 79-80
term translated by / in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 46 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. 79-80

Conceptual field(s)

Quotation

Ghelijck het dan blijckelick is dat sich de eenighen ende waeren grond-slagh der Konste in de Teickeninghen allermeest ontdeckt, soo gaet het mede vast datse den verstandigen een sonderlinghe vermaeck door de kracht van een rechtschaepene onopghepronckte Symmetrye aenbrenghen. Wy sien ’t oock daghelicks dat sich de welgheoeffende Konst-kenners niet alleen met de konstighe wercken selver verghenoeght houden; maer datse boven dien d’eerste, tweede, derde schetsen, die de groote Meesters tot ontwerp haerer wercken ghemaeckt hebben, met een dapper vierighe ende onversaetelicke begheerte beschouwen; niet allen, om datse d’uytnemende schoonheyd en kracht van een welgheproportioneerde Teyckeningh allerbest in d’eenvoudigheyd deser onghecierder linien beseffen; maer oock om datse in de selvighe den soeten anghst des werckenden Konstenaers ordentlick konnen naespeuren;

[Suggested translation, Marije Osnabrugge:] Just like it is then clear that one finds the one and true principle of the Art in the Drawings, as such it is also certain that they add the reasonable and remarkable entertainment by the power of a rightful unembellished Symmetry. We likewise daily see that the well-trained Connoisseurs do not only delight themselves with the artful works themselves; but that they moreover study the first, second and third sketches that the great Masters have made for the design of their work, with a great and unsatiable lust; not only because they recognize the outstanding beauty and power of a well-proportioned Drawing the best in the simplicity of these unembellished lines; but also because they can clearly trace the sweet fear of the working Artists in it;

This extract does not occur in the Latin edition of 1637. In the English edition, the term Kunstkenner is described as 'many who have deeper insight'. [MO]

term translated by / 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. 270

Conceptual field(s)

Quotation

Die ghene dan de welcke haere ooghen door de daghelicksche oeffeningh van een ghestaedighe opmerckinghe tot dese onmoeyelicke vaerdigheyd van een onwedersprekelick oordeel ghebraght hebben, plagten de meeste kracht haerer Konst-kennisse daer in voornaemelick te bewijsen, datse d’originelen staends-voets van de copijen weten t’onderscheyden. d’Oorspronckelicke wercken die de treffelicke Meesters nae ’t leven selver ghemaeckt hebben, worden alhier door de naem van originele stucken te verstaen ghegeven; de copijen daer en teghen en sijn anders niet dan d’afteyckeninghen, ofte uytdrucksels, ofte afsetsels, ofte naemaelsels diemen nae ’t oorspronckelicke stuck heeft afgheteyckent en naeghemaelt. De rechtsinnighe Konst-kenners plaghten oversulcks ind’oorspronckelicke stucken de volkomene kracht van een levendige bevalligheyd te vernemen; daerse nochtans in de naemaecksels maer allen in de ghebrekelicke lammigheyd van een ontleende welstandigheyd ghewaer te worden. Daer is altijd een bevallighe lustigheyd in alle origineelen te vinden, segt Dionisius Halicarnassensis {In Dimarcho.}, de ghecopieerde stucken daer en teghen, al sijnse noch soo wel uytghedruckt, plagten uyt het een of het ander uyt te wijsen het welck al te seer bearbeydt sijnde uyt de nature niet en schijnt voord te komen. […]

[Suggested translation, Marije Osnabrugge:] Those who have developed their eyes to this tireless ability of an incontradictable judgement through the daily practice of a steady observation, tend to demonstrate the most power of their knowledge of art by knowing to immediately distinguish the originals from the copies. The original works that the competent Masters have made after life itself, are understood here wit the term of original pieces; the copies on the other hand are nothing else than the drawings after it, or the offprints, or casts, or paintings after it that one has drawn or painted after the original piece. The frank Art-connoisseurs tend to perceive the complete power of a lively gracefulness in the original pieces; while they only become aware of the defective wretchedness of a flawed lifelessness in the fakes. There is always a graceful pleasure to be found in all the originals, says Dionisius Halicarnessensis {…}, the copied pieces on the other hand, as competently expressed as they may be, tend to show by one element or another that is too cultivated, to not be originating from nature. […]

term translated by / in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 217 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. 348
term translated by / in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 217 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. 348

Conceptual field(s)

Quotation

Staet noch voorder aen te mercken dat de Konst-kenners door dese ghewoonte haerer ooghen niet alleen d’oorspronckelicke taferelen van de naemaelsels vaerdighlick leeren onderkennen; maer datse daer door met eenen oock d’oude wercken van de nieuwe sekerlick weten t’onderscheyden. Men vindt in d’oude stucken een sekere onnaevolghelicke authoriteyt ofte achtbaerheyd der Konste, seght Quintilianus {Lib. viii. Cap. 3.}, die de Schilderijen een sonderlicke aengenaemheyd plaght toe te brenghen.

[Suggested translation, Marije Osnabrugge:] We should furthermore remark that the Art-connoisseurs do not only learn to capably discern the original works from the imitations [NDR: literally: paintings after (an original)]; but that they simultaneously also learn to competently distinguish the old works from the new. In the old pieces one finds a certain inimitable authorithy or respectability of Art, says Quintilianus {…}, that tends to add a special pleasantness to Paintings.

Besides the ability of connoisseurs to distinguish between originals and copies, as discussed in the previous paragraphs, Junius attributes to them the ability to distinguish between old (oud) and new (nieuw) works. He prefers the old works, attributing a certain authority (authoriteit) and respectability (achtbaarheid) to them, which contributes to their pleasantness (aangenaamheid). [MO]

term translated by / in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 218 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. 349
term translated by / in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 218 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. 349

Conceptual field(s)

SPECTATEUR → connaissance

Quotation

Indien staet zijnde, is het tijt om na eerlijck Gewin en Rijckdom om te sien. {3. Tijt van een groot Meester om Rijckdom te krijgen.} Soo ras men sich kan verseeckeren datmen door sijn gedane Neerstigheydt een volkomen Meester geworden is, die sonder alle hulp van andere onderwijsers alleen kan voort studeeren, en dat sijnen Naem daer by begint vermaert te werden, soo moetmen trachten sich selven over al in de gunste der Menschen in te dringhen; {Gunste der groote en Konstkenners.} insonderheyt meest ontrent de groote, als Koningen, Princen, Vorsten en Heeren, ende wel voornamentlijck by die, welcke door Liefde tot de Konst, de Konstenaer beminnen, ende deselve door rijckelijck te beloonen de handt boven ’t hooft houden: Oock omtrent verstandighe en Geleerde Heeren, die goede Konst-kenders zijn, ende u hier en daer konnen voor-draghen, en Recommanderen daer wat Meesterlijcks te maecken valt. 

[suggested translation, Marije Osnabrugge:] When one has arrived there, it is time to look after honest Profit and Wealth. {3. Period for a great Master to obtain Wealth.} As soon as one can be sure that he has become a perfect Master through his past Diligence, who can proceed his studies without any assistance of other teachers, and moreover that his name is starting to become famous, as such one should attempt to come into the favor of Men everywhere; {The favor of the great and the Connoisseurs.} especially with regard of the great such as Kings, Princes, Rulers and Lords, and principally with those who, for the Love of Art, love the Artist and protect him by rewarding him copiously: Also with regard to sensible and Learned Gentlemen, who are good Connoisseurs, and may be able to introduce you here and there and advice were something Masterly is to be made.

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Quotation

Het stond ook die verstandige Menschkundigers ligt te denken, dat terwijl de slegte Meestertjes en Knoyers de onberoerlijkheyd en gebreklijkheyd harer beelden onder d’optoysels der kleedingen, en rijckgeployde drapperyen quamen te verbergen, en ’t oog des gemeenen volx beguichelden, sy met haar wel verstane Beelden, die sonder eenige bewimpeling als aan de naakte waarheyd konden getoest werden, de grootste eer by de Konstkenders en Menschkundige beschouwers souden inleggen: en datse by gevolg alle de andere werken van die en de volgende tijden, soo doende best verduuren konden.

[suggested translation, Marije Osnabrugge:] It was also easy for those wise experts of Anatomy to think that, while the bad little masters and botchers tended to hide the lack of movement and flaws of their figures under the adornment of clothing and richly pleated drapery, and mislead the eye of the common people, they would receive the greatest honour from the Connoisseurs and spectators of the human body, with their well conceived Figures, who could be tested to the naked truth without any disguise: and that they would therefore be able to survive the other works from that and later times.

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Quotation

Soo veel als’er tot noch toe de naam van Konstkenders en beminnaars met waarheyd gedragen hebben, zijn doorgaans van oordeel geweest, dat de Oude overblijffselen der goede statu-Beelden en Half ronden en ’t geen in de bloey-tijd der Schilder en Bootseer-kunde gemaakt is voor de Schoonste in de Konst, en voor de Leerlingen de beste en volmaaktste Voor-beelden te houden sijn. Welke waarheyd van de neerstigen Heer Jan de Bisschop, aangemerkt zijnde, hem ook opentlijk in de Opdragt van sijn vijftig eerst uytgegeven statu-Beelden, heeft doen belijden; dat hy door lange ervarentheyd, in dat gevoelen meer en meer bevestigt was. Want het zy, segt hy, dat we onse meeninge bouwen op d’agting en hoogen prijs, welke voor dusdanige Konstbeelden, al van ouden tijden is betaald geworden, (waar van Cicero, Plinius en andere mannen van kennis; Beneffens de daaglijxse ervarentheyd getuygen konnen zijn:) of dat wy Raphael d’Urbijn, of Michel Angelo en sulke Meesters, ’t selve niet alleen met woorden, maar ook met der daat sien bevestigen; wy sullen bevinden datse hun geheele oeffening dar na gerigt hebben. En voor soo ver, veel eer Roovers dan Navolgers geworden zijn. Waarlijk seyd hy vorder, daar is geen andere reden, dat Vrankrijk, nu in der daat de Kroon spannende, het nu soo ver gebracht heeft, als dat het te Roomen met goede opmerking, de Oude Pronkbeelden wel doorsien, en der selver navolger Poussijn met veel Eer ontfangen, en seer hoog geagt heeft.

[suggested translation, Marije Osnabrugge:] As many as have rightfully carried the name of Connoisseur or lover, they were commonly of the opinion that the Ancient remains of good Statues and Reliefs and all that has been made in the golden age of the art of Painting and Sculpture are the most Beautiful in the Art, and would be the best and most perfect Examples for the Pupils. This truth, recognized by the diligent Mister Jan de Bisschop, who confessed it publicly in the Dedication of his first fifty published Statues; that he had been confirmed in this feeling by his long experience. Since, he says, we either build our opinion on the esteem and high price, which has always been paid for these artful Sculptures, (of which Cicero, Pliny and other men of knowledge – besides the everyday experience – can bear witness of:) or we can see Raphael of Urbino or Michelangelo show it not only with words but with deeds; we will find that they have focused their whole practice on it. And as such, have rather become Robbers than Imitators. Truly, he continued, there is no other reason, that France, which truly beats the lot nowadays, has come this far, than because it has insightfully received the Romans – understanding the Old Statues well – and their imitator Poussin, with much honor, holding them in high esteem.

minnaar

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