SIGHT (n.)

GEZICHT (nld.) · VEDUTA (ita.) · VISTA (ita.) · VUE (fra.)
GEZICHT (nld.) · VUE (fra.)
HOCHMANN, Michel et JACQUART, Danielle (éd.), Lumière et vision dans les sciences et les arts de l’Antiquité au XVIIe siècle, Actes du colloque de Paris, Genève, Droz, 2010.




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2 quotations


Again Titian to make known his art his lights and shadows, when he would express the lightest part of the Body used to add a little too much white, making it much lighter then his pattern, and in the obscure parts, where the light fell by reflexion, a little too much shadow, in resemblance of the decay of the light in that part of the Body, and so his work seemeth to be much raised, and deceive the sight, for the light which cometh to the Eye, in a Pyramidal forme (as shall be shewed in the ensuing discourse) cometh with a blunter and bigger Angle, and so is seen more evidently, whence ariseth a wonderfull eminency, the especial cause whereof is, because there is much more shadow then needeth in that part, where the light decayeth most, so that the vusual lines failing, that part cometh to the Eye in an accuter and sharper angle, and therefore cannot be seen so perfectly, insomuch that that part seemeth to fly inwards, and stand farther off. Thus when the Four parts of a Body are much raised, and the hinder fly sufficiently inwards, there appeareth a very great heightning, which giveth a wonderfrll Spirit, and after this sort Titian beguiled the Eyes of such as beheld his most admirable works.

Conceptual field(s)

SPECTATEUR → perception et regard


And lastly you must take care in the Colouring of the Harmony which makes the variety of Colours agree, supplying the Weakness of some by the Strength of others, to sustain them, as by a Consonance well manag’d, where they must neglect on purpose certain places, to serve for the Basis and Repose of the Sight ; and to raise up those which by their Briskness keep upmost.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs