UITDRUKKEN (v.)

ESPRIMERE (ita.) · EXPRESS (TO) (eng.) · EXPRIMER (fra.)
TERM USED IN EARLY TRANSLATIONS
/ · EXPRESS (TO) (eng.) · EXPRIMERE (lat.)
VAN MANDER, Carel, Principe et fondement de l’art noble et libre de la peinture, NOLDUS, Jan Willem (éd.), Paris, Les Belles Lettres, 2008.

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LINKED QUOTATIONS

2 sources
3 quotations

1 quotations

Van Mander n’utilise jamais voorstellen (présenter, représenter) et afbeelden (reproduire). Voir Noldus, p. XLVII-L. Sur le vocabulaire de la représentatio, voir Maurice BROCK, « L’action du peintre d’après le De pictura. Contribution à une étude du lexique de la “représentation” », dans Francesco Furlan et Gianni Venturi (éd.), avec la collab. de Daniela Di Carlo, Elena Scantamburlo et Mauro Scarabelli, Leon Battista Alberti. Actes du congrès international Gli Este e l’Alberti : tempo e misura, Ferrara, 29 . XI – 3 . XII . 2004, t. II, Pise/Rome, Fabrizio Serra editore, 2010, p. 149-174. [MB]

Quotation

41 Summa hoe hoogh desen Man is gaen stappen
Om constich Reflexy wel uyt te drucken
Ten heeft niet alleen faem in veel Landschappen,
Maer oock den goudt-proever Battus gaen clappen:
Want in ’t hooft der steden ick by ghelucken
{Dese stuckskens sach ick te Room, en waren gheschildert op platen van soetsteen.}
Quam te sien eenighe Passy nacht-stucken
Waer in t’steens grondt t’diepsel was menichvuldich
En des lichts stralen van een stecksken guldich.

[D'après NOLDUS 2008, p. 115-116:] 41 Bref, la hauteur à laquelle cet Homme est monté pour bien exprimer des Reflets, non seulement sa renommée dans beaucoup de Pays mais aussi Battus, l’essayeur d’or, en témoignent : dans la première des Villes, j’ai vu par hasard quelques nocturnes de la Passion, où la pierre était souvent utilisée comme couleur de fond, {J’ai vu ces pièces à Rome. Elles étaient peintes sur des plaques en pierre de touche.} et les rayons de lumière dessinés avec un bâtonnet d’or.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la peinture
CONCEPTION DE LA PEINTURE → lumière

2 quotations

Quotation

Beneffens dese voornoemde Imitatie der naturelicker lichaemen door welcke de Konstenaers aengeleyd worden om allerley sienelicke dingen nae 't leven uyt te drucken, so staet ons alhier noch een andere soorte van Imitatie aen te mercken, door welcke den Konstenaer sich verstoutet oock soodaenighe dinghen af te beelden die van 's menschen ghesicht verde sijn afgescheyden. Ende al hoewel de voornaemste kracht van dese imitatie in de fantasije bestaet, soo is het nochtans dat wy d'eerste beginselen deser imaginatie onsen ooghen moeten danck weten; want d'inwendighe verbeeldinghen die in onse ghedachten spelen, konnen daer in noyt ghefatsoenert worden 't en sy dat wy eerst de ghedaente der dinghen ergens in 't rouwe met onse ooghen hebben aenschouwet, of ten minsten met d'een of d'ander onser vijf sinnen hebben ghevoelt.

[Suggested translation, Marije Osnabrugge:] Besides this aforementioned Imitation of natural bodies by which the Artists are stimulated to express all sorts of visible things after life, we should here consider another type of Imitation, by which the Artists dares to also depict such things that are far removed from man's view. And although the principal power of this imitation exists in the fantasy, then we should still thank our eyes for the first beginnings of this imagination; as the internal representations that play in our thoughts can never be modeled there, unless we have first beheld the shape of things somewhere in coarse with our eyes, or at least have felt with one or another of our five senses.

Junius uses ‘afbeelden’ to indicate the ability of artists to depict that which cannot be seen directly, but which has to be imagined in one’s mind. The near-synonym ‘uitdrukken’, which he also uses in this extract, indicates the ability to work ‘after life’ rather than from the imagination.[MO]

term translated by EXPRIMERE in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 8
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. 17

Conceptual field(s)

CONCEPTS ESTHETIQUES → nature, imitation et vrai

Quotation

Soo is dan dese gantsch vruchtbaere kracht onses ghemoedts, nae 't oordeel van Plato {in Sophista.}, tweederley: d’eerste soeckt maer alleen soodaenighe dinghen uyt te drucken die d'ooghe teghenwoordighlick aenschouwet; d'andere bestaet daer en boven oock die dinghen af te beelden welcker voorbeeldt maer alleen in de fantasije voor ghestelt wordt.

[Suggested translation, Marije Osnabrugge:] Thus this very fruitful power of our mind is, after the judgment of Plato {…}, twofold: the first only tries to express such things that the eye beholds presently; the other also manages to depict those things whose example is only presented in the fantasy.

PLATON

Junius uses ‘afbeelden’ to indicate the ability of artists to depict that which cannot be seen directly, but which has to be imagined in one’s mind. ‘Uitdrukken’ (express) indicates the ability to work after that which is seen with one’s eyes at that moment, rather than from the imagination. He connects this to Plato’s theory of the duality of the mind. [MO]

term translated by / in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 9 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. 18-19
term translated by / in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p. 9 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. 18-19

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture
CONCEPTS ESTHETIQUES → nature, imitation et vrai