NATREKKEN (v.)

DELINEARE (lat.) · DESSINER (fra.) · DRAW AFTER (TO) (eng.) · IMITARE (lat.) · IMITER (fra.) · NACHZEICHNEN (deu.) · TRACER (fra.)
TERM USED IN EARLY TRANSLATIONS
ADUMBRARE (lat.) · CIRCUMSCRIBERE (lat.) · EXPRESS (TO) (eng.) · IMITATE (TO) (eng.)

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LINKED QUOTATIONS

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2 quotations

2 quotations

Quotation

Dit selvighe wordt mede bevestight met dese woorden van den gheleerden Quintilianus; t staet eenen Leer-Meester toe, seght hy {Orat. Institut. Lib. 7. cap. 10.}, daghelicks aen te wijsen hoedanigh 't vervolge der dinghen sy, als oock hoe de selvighe aen elck-ander hanghen: want het onmoghelick is, al 't ghene de Konst aen-gaet, in 't bysonder voor te schrijven. Waer vindt men doch erghens een Schilder, die al 't ghene in de nature voor-valt, heeft leeren naetrecken? Nochtans sal hy, de rechte maniere der imitatie maer eens gevat hebbende, al wat hem voor-komt lichtelick af-beelden.

[Suggested translation, Marije Osnabrugge:] The same is also confirmed with these words by the learned Quintilianus; it is allowed to a Master, he says {…}, to designate daily how the continuation of the things will be, as well as how things are connected to each other: as it is impossible to lay out all that concerns Art in its specificity. Where then does one find a Painter, who has learned to trace all that happens in nature? Nonetheless he will, once he has grasped the right manner of imitation, easily depict all that occurs to him.

QUINTILIANUS

term translated by ADUMBRARE in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p.5
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., p.9-10

Conceptual field(s)

L’ARTISTE → apprentissage
MATERIALITE DE L’ŒUVRE → technique du dessin

Quotation

Staet ons dan alhier naeuw te letten op dese woorden van Quintilianus, daer en is nerghens yet, seght hy {orat. Instit. Lib. 10, cap. 2}, welcke door enckele imitatie toe neemt: ende indien het ongheoorloft waere gheweest tot hetgene ghevonden was yet-wat toe te voeghen, wy en souden als noch anders gheen Schilder-konst hebben dan die d'uytersterste linien van de schaduwe der lichaemen nae-treckt. Slaat uwe ooghen waer-waerd ghy wilt, nochtans houdt ick my selven daervan ver-sekert, dat ghy nerghens eenighe konsten sult ontmoeten die sich binnen d'enge palen haere eerster beginselen ghehouden hebben.

[Suggested translation, Marije Osnabrugge:] We should then pay close attention to these words by Quintilianus, there is nowhere something, he says {…}, which augments through simple imitation: and if it were improper to add something to that which had been found, we still would not have any other Art of Painting than one which draws after the outer lines of the shadow of bodies. Shed your eyes wherever you want, I am sure that you will nowhere meet any arts that have remained inside the narrow poles of her first principles.

QUINTILIANUS

In this extract, basing himself on Quintilianus, Junius explains that the first paintings consisted of the simplest form of imitation : the tracing of shadows by means of lines. He calls this ‘the first principles of art’ and adds that art has developed far beyond it now. On page 22, Junius has already discussed this topos, in that case by citing Pliny the Elder. [MO]

term translated by CIRCUMSCRIBERE in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p.16
term translated by EXPRESS (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.29-30

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin