tag:blogger.com,1999:blog-60015265274216064352024-03-18T05:43:48.119-07:00Lala Ragimov Art Blogabout the artmaking process and its historyLala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.comBlogger31125tag:blogger.com,1999:blog-6001526527421606435.post-65665897818234911892022-09-25T22:58:00.002-07:002022-09-26T12:00:08.737-07:00The Muse<p lang="en-GB" style="margin: 0in;"><span style="color: #444444;"><span style="font-size: small;"></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXR26klyL7TL41V4JsBtdlNCq2H3gfT5pNqohB4a3kOqpvIOyZ72z7M47kGBNq1OgADcu22bYq4KQGH-JcgkDVgwyo_1teQcvAxWdXXtq2XZQTDZ_CbEQEVPEQ2kw2vH-ZKtUsv_vyGMT2gzNDMDsTQB9J9ick2peFuP7dd-zQlFnpzbFAJISm7ZeIvw/s3024/gould%20portrait.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="3024" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXR26klyL7TL41V4JsBtdlNCq2H3gfT5pNqohB4a3kOqpvIOyZ72z7M47kGBNq1OgADcu22bYq4KQGH-JcgkDVgwyo_1teQcvAxWdXXtq2XZQTDZ_CbEQEVPEQ2kw2vH-ZKtUsv_vyGMT2gzNDMDsTQB9J9ick2peFuP7dd-zQlFnpzbFAJISm7ZeIvw/w303-h303/gould%20portrait.jpg" width="303" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Glenn Gould<br /></td></tr></tbody></table><p></p><p lang="en-GB" style="margin-bottom: 0in; margin-right: 0in; margin-top: 0in; text-align: left;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;"> <br /></span></span></span></p><p lang="en-GB" style="margin-bottom: 0in; margin-right: 0in; margin-top: 0in; text-align: left;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;">Two
months ago a problem I had all my adult life - a feeling of meaninglessness of
art and a regret of being an artist, came to a crisis.<span> Despite of having a lot of orders I couldn't make myself work. </span> </span></span></span></p><p lang="en-GB" style="margin-bottom: 0in; margin-right: 0in; margin-top: 0in; text-align: left;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;">Luckily at the same time I was exploring the oeuvre of a favourite pianist, Glenn Gould, who I listened to on and off most of my life, and only
knew for his Bach. This time I heard his Beethoven, his moving and wise "contrapuntal radio" - modernist operas about the meaning of life, read many of his articles and interviews, and carefully watched his performances.<br /></span></span></span></p><p lang="en-GB" style="margin-bottom: 0in; margin-right: 0in; margin-top: 0in; text-align: left;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;">The unexpected result was the discovery of myself, a flinging open of inner doors to the source of art, that were shut since my teens, and an avalanche of
inspiration that swept all the crises away as I welcomed my new muse. </span></span></span></p><h2 class="_a9zc"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aap6 _aap7 _aap8"><span style="font-weight: normal;">Today on September 25, 2022 <span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aacl _aaco _aacu _aacx _aad7 _aade">Glenn
Gould would have turned 90, and I wanted to celebrate the great
musician-thinker with some art and thoughts in this post and possibly
some future ones</span></span></span></span></span></span></span></span></h2><h2 class="_a9zc"><span style="font-size: small;"><span style="font-weight: normal;"><span style="font-family: Quattrocento;"><span style="color: #444444;"></span></span></span></span><span style="font-family: Quattrocento;"></span><span style="color: #444444;"></span><div class="_ab8w _ab94 _ab99 _ab9f _ab9m _ab9p _abbh _abcm"><span style="color: #444444;"><br /></span></div><div class="_ab8w _ab94 _ab99 _ab9f _ab9m _ab9p _abbh _abcm"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aap6 _aap7 _aap8"><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzw7nC82uXtBQkEoZ141MLNkc6XrAO3-0RustwQFkK2QFUUc-fkDd21Zf-PocXetkgCfR8qP6OaSaKOJO3eOQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div></span></span></span></span></span></span></span></span></div><div class="_ab8w _ab94 _ab99 _ab9f _ab9m _ab9p _abbh _abcm" style="text-align: center;"><span style="color: #444444;"></span><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aap6 _aap7 _aap8"><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"> Gould playing Beethoven<br /></span></span></span></span></span></span></span></span></div><div class="_ab8w _ab94 _ab99 _ab9f _ab9m _ab9p _abbh _abcm"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aap6 _aap7 _aap8"><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"> </span></span></span></span></span></span></span></span></div><div class="_ab8w _ab94 _ab99 _ab9f _ab9m _ab9p _abbh _abcm"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aap6 _aap7 _aap8"><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"> </span></span></span></span></span></span></span></span><span style="font-weight: normal;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aacl _aaco _aacu _aacx _aad7 _aade">Glenn
Gould was a utopian – to him art was a moral undertaking, and he spoke
against such evils as professional sport, music competitions, applause,
live concerts, and even professional art as a whole, as in his utopian
future every human would become a non-competitive, nonviolent artist.
His alternative to the sin of competition was the virtue of
communication. I believe these ideas created the magic effects of his music-making. The sublime
talking piano, the gestures and groans of a religious trance, the
creaking chair, the stomping feet communicate the creative experience to
your own mind and body, and convert you into art by revealing your own
often long-forgotten path to artistic ecstasy, if you only care to
follow.</span></span></span></span></span></div><div class="_ab8w _ab94 _ab99 _ab9f _ab9m _ab9p _abbh _abcm"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aap6 _aap7 _aap8"><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"> </span></span></span></span></span></span></span></span></div><div class="_ab8w _ab94 _ab99 _ab9f _ab9m _ab9p _abbh _abcm"><span style="color: #444444;"></span></div><div class="_ab8w _ab94 _ab99 _ab9f _ab9m _ab9p _abbh _abcm"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aap6 _aap7 _aap8"><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"><br /></span></span></span></span></span></span></span></span></div><div class="_ab8w _ab94 _ab99 _ab9f _ab9m _ab9p _abbh _abcm"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aap6 _aap7 _aap8"><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgxw6mS198aSRZOWGzMjrdNK_cAhCk5ud3jz7fDSs1tj8z-nt-Zdh8UL0oLtaXl1qa6rkmrRqGqNlTlFv3tP3L0Sc7ik03HlotqLOQOFMU20wurGN1_n9tko4T-jhTpfE-i7fj6_NrRdQrszzr2toGhdAHx6EUrOkiLsQF2QNQtmOuXdPCJj6irSZNtg/s4032/gould%20intaglio%20ragimov.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgxw6mS198aSRZOWGzMjrdNK_cAhCk5ud3jz7fDSs1tj8z-nt-Zdh8UL0oLtaXl1qa6rkmrRqGqNlTlFv3tP3L0Sc7ik03HlotqLOQOFMU20wurGN1_n9tko4T-jhTpfE-i7fj6_NrRdQrszzr2toGhdAHx6EUrOkiLsQF2QNQtmOuXdPCJj6irSZNtg/s320/gould%20intaglio%20ragimov.jpg" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aap6 _aap7 _aap8"><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><div class="_a9zs" style="text-align: center;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"> Glenn Gould - a 17mm blue chalcedony intaglio carving</span></span></span></span></div><div class="_a9zs" style="text-align: center;"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"><br /></span></span></span></span><span style="color: #444444;"></span></div></span></span></span></span></span></span></span></td></tr></tbody></table></span></span></span></span></span></span></span><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aap6 _aap7 _aap8"><span style="font-weight: normal;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><div class="_a9zs"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"> </span></span></span></span><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aacl _aaco _aacu _aacx _aad7 _aade">Here is Gould's own writing on the purpose of art, from the article "Let's Ban Applause":<br />"…the
justification of art is in the internal combustion it ignites in the
hearts of men and not its shallow, externalized, public manifestations.
The purpose of art is not the release of a momentary ejection of
adrenaline but is, rather, the gradual, lifelong construction of a state
of wonder and serenity. Through the ministrations of radio and the
phonograph, we are rapidly and quite properly learning to appreciate the
elements of aesthetic narcissism - and I use that word in its best
sense - and are awakening to the challenge that each man contemplatively
create his own divinity."</span></span></span></span></div></span></span></span></span></span></span></span></div></h2><div class="_a9zs"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><span class="_aacl _aaco _aacu _aacx _aad7 _aade"> </span></span></span></span></div><div class="_a9zs"><span style="color: #444444;"><span style="font-size: small;"><span style="font-family: Quattrocento;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzC4O8Le29wKX5wGdE36Ef3KGIzMHwHJjucZK1DxltoXkwsZJVXnii_PlMRGq-H4_BU9OmIZXAYXK-5Vm3KNQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><br /></span></span></span></div><div class="_a9zs" style="text-align: center;"><span style="color: #444444;"><span style="font-family: Quattrocento;"><span style="font-size: x-small;">A compilation of my drawings and carvings dancing to the Goldberg Variations for Glenn Gould's birthday</span><br /></span></span></div><div class="_a9zs"><span style="color: #444444;"></span><div style="text-align: center;"><span style="color: #444444;"><span style="font-family: Quattrocento;"> </span></span></div><div style="text-align: left;"><span style="color: #444444;"><span style="font-family: Quattrocento;"><br /></span></span></div></div>Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0tag:blogger.com,1999:blog-6001526527421606435.post-13836920572020272692015-12-27T23:42:00.003-08:002016-02-04T14:20:43.918-08:00Ancient chain weaves<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://4.bp.blogspot.com/-6DpqSCxUVQs/VoHuGxMVErI/AAAAAAAABas/HSAo6nTWILg/s1600/IMG_9902a.jpg" imageanchor="1"><img border="0" height="140" src="https://4.bp.blogspot.com/-6DpqSCxUVQs/VoHuGxMVErI/AAAAAAAABas/HSAo6nTWILg/s400/IMG_9902a.jpg" width="400" /></a></div>
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The favourite chain weave of all ancient European civilizations was the so-called loop-in-loop pattern. It has been used in jewellery from Ancient Sumer through most of Ancient Europe and Middle East, including Ancient Egypt, Greece, Rome and Byzantium. It disappeared in Medieval times only to be revived in the 1800s with all other things "Etruscan" and ancient.<br />
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<a href="http://1.bp.blogspot.com/-hBaws7qGazA/VoDI9kVcGuI/AAAAAAAABV8/C5dE0SPkwe0/s1600/chains%2Btext%2Blala%2Bragimov%2Ba.jpg" imageanchor="1"><img border="0" height="345" src="https://1.bp.blogspot.com/-hBaws7qGazA/VoDI9kVcGuI/AAAAAAAABV8/C5dE0SPkwe0/s400/chains%2Btext%2Blala%2Bragimov%2Ba.jpg" width="400" /></a></div>
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Because of my anachronistic tendencies, I have always wanted to possess and wear necklaces of this type. In 2014 I got a chance to learn how to make them, and so far I have made six of three different weaves and four different alloys of gold and silver. My technique is based partly on the one described in the well-illustrated and practical book “Classical Loop-in-Loop Chains”
by J. Reist Stark and J. Reist Smith, partly on the experience and advice of jewellers I consulted, and on my own personal trials and errors.</div>
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The wire was made by a professional jeweller (assisted and photographed by me as you can see below). The chains themselves were fused and woven by me. </div>
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MAKING WIRE </div>
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In ancient
times wire was made by rolling twisted metal strips between two heavy slabs of stone or metal creating a characteristic spiral seam. From Medieval times jewellers started using drawn wire, pulling metal rods through a series of holes gradually
diminishing in size. This is the method I watched and photographed
at a jewellery studio:</div>
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1.</div>
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<a href="http://2.bp.blogspot.com/-rprs8BKwelY/VoDeUeF6ADI/AAAAAAAABZE/SCB3Zc0tH58/s1600/1%2Blala%2Bragimov.jpg" imageanchor="1"><img border="0" height="120" src="https://2.bp.blogspot.com/-rprs8BKwelY/VoDeUeF6ADI/AAAAAAAABZE/SCB3Zc0tH58/s400/1%2Blala%2Bragimov.jpg" width="400" /></a></div>
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First the 24k gold
grains are weighed in correct proportion to the grains of silver and
copper. The mould is then prepared by rubbing it with machine oil and
warming it up.</div>
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Reist Stark and Reist
Smith in their book suggest a recipe for 22k gold with a high
proportion of silver for ease of fusing (the so-called eutectic gold: 91.6% Au, 6.3% Ag
and 2.1% Cu). In my experience, the standard 22k gold alloy (91.6%
gold with the remainder evenly split between silver and copper) was
easier to fuse.</div>
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The authors also state that their 22k alloy is close to that used in Greek and Roman chains, but from what I read in other sources, the alloys used in antiquity were extremely varied, from under 18k to nearly 24k, and seem to have been around 23k most of the time. The conservation journals and books I read did not have specific results for chains, so I still don't know what the typical alloy for chain wire was in the Antiquity.</div>
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<a href="http://2.bp.blogspot.com/-_QwfHo_IJm8/VoDeW_U8F-I/AAAAAAAABZQ/94XrXRD1h4U/s1600/2%2Blala%2Bragimov.jpg" imageanchor="1"><img border="0" height="145" src="https://2.bp.blogspot.com/-_QwfHo_IJm8/VoDeW_U8F-I/AAAAAAAABZQ/94XrXRD1h4U/s400/2%2Blala%2Bragimov.jpg" width="400" /></a></div>
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The gold silver and
copper shot is then melted in a crucible while being stirred with a
graphite rod (graphite is used because it doesn't transmit heat). The
liquid metal is then poured into the mould. The clamps are released,
and the resulting 22k ingot is removed.</div>
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3.</div>
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<a href="http://4.bp.blogspot.com/-U6WbOG7_y7w/VoDeaYSce_I/AAAAAAAABZc/cSy96iR5YfE/s1600/3%2Blala%2Bragimov.jpg" imageanchor="1"><img border="0" height="187" src="https://4.bp.blogspot.com/-U6WbOG7_y7w/VoDeaYSce_I/AAAAAAAABZc/cSy96iR5YfE/s400/3%2Blala%2Bragimov.jpg" width="400" /></a></div>
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This ingot was then
rolled on a rolling mill to reduce its thickness to 1.5 mm at which point the
draw plates could be used to reduce the diameter of the wire even
further. The wire was annealed when it got too work-hardened by these
manipulations.
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After the final annealing, the jeweller rolled
the resulting wire into coils on a lathe (not shown), and from that point I took
over.</div>
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WEAVING THE CHAIN </div>
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<a href="http://4.bp.blogspot.com/-l_ohdKvSc40/VoDk4kP_exI/AAAAAAAABZs/_aajrsTjwQE/s1600/4%2Blala%2Bragimov.jpg" imageanchor="1"><img border="0" height="136" src="https://4.bp.blogspot.com/-l_ohdKvSc40/VoDk4kP_exI/AAAAAAAABZs/_aajrsTjwQE/s400/4%2Blala%2Bragimov.jpg" width="400" /></a></div>
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First I cut the springy gold
wire coils into links. Then I butted the link ends together and
made sure there is tension between them to keep the gap small. I laid out the links on a piece of charcoal, and fused them with a small and
very convenient micro-torch (ES-1000) using a small and “bushy” reducing
(low-oxygen) flame.</div>
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The hardest part of the process is fusing the links: any blinking or breathing at the wrong time can make you miss the split second in which the link melts and turns into a cute but useless little torque with shiny beaded ends. Part of the links always get spoiled this way, especially if they are silver, but the process itself is not difficult to understand. It took me only about thirty minutes to learn how to consistently produce viable fused links.</div>
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After fusing, links need to be tested by pulling them into ovals with round-nosed pliers. As the links are stretched, the badly-fused ones break, ricochet on all available objects, and
fly to the far corners of the room. Despite precautions, some of my chain-making time was spent on the floor sourcing scrap metal.<br />
The links that passed the test are pinched in the middle and curved into a butterfly-like shape. After the butterflies are annealed, the weaving
can begin.</div>
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2.</div>
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<a href="http://4.bp.blogspot.com/-oTnvcj69qhk/VoDXxKwlM3I/AAAAAAAABX4/7mecDp5GHnY/s1600/5lala%2Bragimov.jpg" imageanchor="1"><img border="0" height="187" src="https://4.bp.blogspot.com/-oTnvcj69qhk/VoDXxKwlM3I/AAAAAAAABX4/7mecDp5GHnY/s400/5lala%2Bragimov.jpg" width="400" /></a></div>
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The only tool needed for weaving a standard chain is an awl to open spaces between the links and to pull on the open ends of each freshly inserted link to tighten the chain. The first chain I made (a commission for a client) was a thick “double loop-in-loop” (still oxidised and unpickled on my neck in the
central picture, pickled and shiny to the right). For weave comparison, the
silver chain section on the top right is the “single loop-in-loop”
weave, the simplest of all, where each link is connected to only two other
links instead of four.</div>
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I later made another
chain from 24k gold (seen in the picture second from the top), and it came out looking more irregular and loose because the links were softer and stretched more during the weaving
process. I did enjoy the gleaming polished gold look as it came out
untarnished from the flame.</div>
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My favourite alloy to
work with was the standard half-copper half-silver 22k gold.
It was easier to fuse, slightly harder to weave but produced a very strong, even-looking chain:</div>
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<a href="http://2.bp.blogspot.com/-sBCen7h78ck/VoDX640Y72I/AAAAAAAABYQ/OAeEMgO4T7k/s1600/5%2Bchain%2BRufat.jpg" imageanchor="1"><img border="0" height="640" src="https://2.bp.blogspot.com/-sBCen7h78ck/VoDX640Y72I/AAAAAAAABYQ/OAeEMgO4T7k/s640/5%2Bchain%2BRufat.jpg" width="521" /></a></div>
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Fine silver, on the other hand, was the
hardest material to work with. I used it to create the more difficult “two
way” double loop-in-loop chain for myself, and had to constantly
fight links not fusing well and breaking. In the process of weaving, a two-way double chain looks like a cute little monster with its mouth open:</div>
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<a href="http://1.bp.blogspot.com/-7oNnXcTnhSI/VoDYB8mbqBI/AAAAAAAABYo/BaJ9JZtjnAU/s1600/6%2Bsilver%2Bchain.jpg" imageanchor="1"><img border="0" height="448" src="https://1.bp.blogspot.com/-7oNnXcTnhSI/VoDYB8mbqBI/AAAAAAAABYo/BaJ9JZtjnAU/s640/6%2Bsilver%2Bchain.jpg" width="640" /></a></div>
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After the chains are
woven they need to be annealed, pickled, tamped with a hammer or pulled through a
wooden draw-plate to make them more dense and uniform. After such treatment they become stiff like sticks, and need to be
massaged and bent in all directions until they become flexible and sensuously serpentine. I found
that my fingernails suited that purpose best, and additionally the procedure gave them this cool look:</div>
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<a href="http://1.bp.blogspot.com/-TsiDH7z6Wug/VoDYXBAie6I/AAAAAAAABY0/21cCftTuQS4/s1600/7%2BNAIL.jpg" imageanchor="1"><img border="0" height="345" src="https://1.bp.blogspot.com/-TsiDH7z6Wug/VoDYXBAie6I/AAAAAAAABY0/21cCftTuQS4/s400/7%2BNAIL.jpg" width="400" /></a></div>
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To conclude, the process of ancient chain-weaving demands a lot of concentration and patience, even if you start with ready-made wire. The beautiful results make up for the effort completely and are definitely worth it, especially for those who enjoy wearing and touching history like I do.<br />
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<a href="http://4.bp.blogspot.com/-JQUqoqu9rYs/VoHwQE7M4GI/AAAAAAAABbE/DucLSK_oPek/s1600/IMG_9902-3a.jpg" imageanchor="1"><img border="0" height="335" src="https://4.bp.blogspot.com/-JQUqoqu9rYs/VoHwQE7M4GI/AAAAAAAABbE/DucLSK_oPek/s400/IMG_9902-3a.jpg" width="400" /></a></div>
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Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com1tag:blogger.com,1999:blog-6001526527421606435.post-54909071335229254392015-09-30T23:22:00.004-07:002015-10-03T15:18:51.345-07:00Andrea del Sarto: The Renaissance Workshop in Action. An Artist's Review<div dir="ltr" style="text-align: left;" trbidi="on">
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One of the best exhibitions I have seen, <a href="http://www.getty.edu/art/exhibitions/del_sarto/" target="_blank">"Andrea del Sarto: The Renaissance Workshop in Action"</a> is, at the moment of this writing, travelling from the Getty Museum to the <a href="http://www.frick.org/exhibitions/del_sarto" target="_blank">Frick Collection </a>where it opens on October 5 for the lucky viewers there. </div>
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While star paintings are always on display in museums, drawings, no matter how beautiful, are hidden away in the vaults because of their sensitivity to light. This fact makes this show is a unique opportunity to see this rarely exhibited Renaissance master's most rarely exhibited works from world collections. For an art historian or any educated artist these drawings are so iconic and familiar from reproductions that it is a dream-like experience to see them "live" all in front of you together with several of his magnificent paintings. It took me a bit of time before my head stopped spinning from being surrounded by such celebrities, and I could concentrate on studying in those magical rooms.</div>
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I'm very grateful for the inspiration and schooling this incredible show provided me with. Below are some of the copies and reconstructions I made at the show or inspired by it.<br />
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<a href="http://4.bp.blogspot.com/-E-pyDbYte1c/VeznPrLqH7I/AAAAAAAABGc/wKnfj78M7bE/s1600/Lala%2BRagimov%2BAndrea%2Bdel%2BSarto.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="242" src="http://4.bp.blogspot.com/-E-pyDbYte1c/VeznPrLqH7I/AAAAAAAABGc/wKnfj78M7bE/s320/Lala%2BRagimov%2BAndrea%2Bdel%2BSarto.jpg" width="320" /></a></div>
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To learn, an artist in the "classical" representational tradition has to copy. When you copy from a colour print or a computer screen, you cannot compare the two drawings well because of size and medium differences. But when you are standing in one room with the original drawing, and you have a piece of genuine red chalk or a substitute and some paper in your hands, it's a learning experience like no other.</div>
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Technical information:</div>
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For the copies appearing below genuine red chalk (Elba, sold by Zecchi) and genuine black chalk (France, sold by Kremer Pigments). For some drawings I used the substitutes as noted. For paper I used the Fabriano Ingres laid as well as Strathmore "toned tan" (which is sadly smooth but has a beautiful irregular colour), both not authentic, but then authentic paper is not to be found anywhere.</div>
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The chalk comes in chunks that I then saw into thin sticks. Considering some of the filigree lines on del Sarto drawings he must have sharpened his chalks very well for certain passages.</div>
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<a href="http://1.bp.blogspot.com/-kgY6PNDk9gs/Vezqs9QfG8I/AAAAAAAABG8/SqEnhx7zfxE/s1600/1440282337833.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-kgY6PNDk9gs/Vezqs9QfG8I/AAAAAAAABG8/SqEnhx7zfxE/s200/1440282337833.jpg" width="200" /></a></div>
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Red chalk - the lighter one is from Russia the darker from Elba<br />
and some tools to saw it into sections</div>
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What I also noticed is that del Sarto (as well as Rubens and many others from 1500-1600s used a harder red chalk than is available now. The closest ones in hardness (though still not hard enough) are modern artificial waxy pencils such as Pitt oil base, Cretacolor oil and Koh-I-Noor Gioconda, but they don't work well because they are nearly impossible to smudge.</div>
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<a href="http://1.bp.blogspot.com/-vipdH0BMV9U/Ve0jVbMmpbI/AAAAAAAABHQ/D7TK2buwH_E/s1600/lala%2Bragimov%2Bdel%2Bsarto%2Bchild%2Bhand.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="90" src="http://1.bp.blogspot.com/-vipdH0BMV9U/Ve0jVbMmpbI/AAAAAAAABHQ/D7TK2buwH_E/s400/lala%2Bragimov%2Bdel%2Bsarto%2Bchild%2Bhand.jpg" width="400" /></a></div>
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Original on the left, Genuine red chalk copy in the middle, Cretacolor "oil" pencil on right</div>
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<a href="http://2.bp.blogspot.com/-gPw0ZNaRupI/VgzMK1vDqJI/AAAAAAAABJw/6nYVXhmzT3c/s1600/aristotle2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="269" src="http://2.bp.blogspot.com/-gPw0ZNaRupI/VgzMK1vDqJI/AAAAAAAABJw/6nYVXhmzT3c/s320/aristotle2.jpg" width="320" /></a></div>
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Copy after del Sarto </div>
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Pitt pastel pencil - maybe a little softer or as soft as genuine red chalk</div>
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<a href="http://4.bp.blogspot.com/-HAJg4hV-8iI/VgzNDKBj31I/AAAAAAAABKA/2sW9SYNy-DQ/s1600/Baby%2Bhead%2Bdel%2Bsarto.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-HAJg4hV-8iI/VgzNDKBj31I/AAAAAAAABKA/2sW9SYNy-DQ/s320/Baby%2Bhead%2Bdel%2Bsarto.jpg" width="264" /></a></div>
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Red chalk from Elba on Fabriano Ingres</div>
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<a href="http://3.bp.blogspot.com/-Owp0oYiC8w4/VgzMy1etO0I/AAAAAAAABJ4/RqB5l35gW2Y/s1600/a%2Byoung%2Bman%2Bdel%2Bsarto.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-Owp0oYiC8w4/VgzMy1etO0I/AAAAAAAABJ4/RqB5l35gW2Y/s320/a%2Byoung%2Bman%2Bdel%2Bsarto.jpg" width="237" /></a></div>
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Genuine black chalk on Strathmore toned tan</div>
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<a href="http://1.bp.blogspot.com/-AwQhPt-2wIM/Vezn5r0RbUI/AAAAAAAABGk/Zdb-7tYxxBw/s1600/maddalena%2BLala%2BRagimov%2BAndrea%2Bdel%2BSarto%2Bsigned.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-AwQhPt-2wIM/Vezn5r0RbUI/AAAAAAAABGk/Zdb-7tYxxBw/s320/maddalena%2BLala%2BRagimov%2BAndrea%2Bdel%2BSarto%2Bsigned.jpg" width="248" /></a></div>
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Study of the Head of a Young Woman, about 1523,<br />
Elba sanguine on Fabriano Ingres paper<br />
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<a href="http://1.bp.blogspot.com/-1n2-fXA8TkE/VezoJELAaiI/AAAAAAAABGs/YW9ewvNcL8E/s1600/del%2Bsarto%2Bcopy%2BLala%2BRagimov%2Bdesaturate.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-1n2-fXA8TkE/VezoJELAaiI/AAAAAAAABGs/YW9ewvNcL8E/s320/del%2Bsarto%2Bcopy%2BLala%2BRagimov%2Bdesaturate.jpg" width="258" /></a><br />
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Red chalk from Russia. Beautiful colour, but too soft. <br />
(this drawing wasn't in the show,<br />
but I stumbled upon a very good quality image...)</div>
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Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0tag:blogger.com,1999:blog-6001526527421606435.post-81929634642982644242014-08-31T19:41:00.007-07:002022-10-16T20:17:48.463-07:00Intaglio gem carving<div dir="ltr" style="text-align: left;" trbidi="on">
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(Updates: for the newest Lala gems you can follow me <a href="https://www.instagram.com/lalaragimov/" target="_blank">HERE</a></div><div style="text-align: center;"> </div><div style="text-align: center;">And please see <a href="http://www.lalaragimov.com/intagliogems.html" target="_blank">Lala Ragimov's Intaglio Gems</a> page with photos and ordering information)<br /></div>
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<a href="http://2.bp.blogspot.com/-Xep0K-iGQJY/VvtJI6Ud4wI/AAAAAAAABrA/TRO30qEIOyEH4kquUXovzHJXQQ9txbrkg/s1600/deer%2Bblue%2Bchalcedony.jpg"><img border="0" height="320" src="https://2.bp.blogspot.com/-Xep0K-iGQJY/VvtJI6Ud4wI/AAAAAAAABrA/TRO30qEIOyEH4kquUXovzHJXQQ9txbrkg/s320/deer%2Bblue%2Bchalcedony.jpg" width="320" /></a></div>
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My copy after a circa 300 BC intaglio gem from </div>
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Ionic Greece (Hermitage). March 2016</div>
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Here are my first experiments in gem engraving. Ancient carvers worked with a simple machine using oil and emery powder slurry to carve the gems (mostly chalcedony and agate): <div style="text-align: left;">
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I made my intaglios using a binocular microscope and an electric rotary tool with sintered diamond bits and a continuous water supply.<br />
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Here are my results so far:</div>
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<a href="http://3.bp.blogspot.com/--eI1POcAt2A/VAJp5i68ODI/AAAAAAAAA0g/YVbgLJm6NX4/s1600/Pegasus%2Bagate%2Bintaglio%2Bby%2BLala%2BRagimov.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="301" src="https://3.bp.blogspot.com/--eI1POcAt2A/VAJp5i68ODI/AAAAAAAAA0g/YVbgLJm6NX4/s1600/Pegasus%2Bagate%2Bintaglio%2Bby%2BLala%2BRagimov.jpg" width="400" /> </a></div>
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My first intaglio, Pegasus (agate).</div>
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<a href="http://3.bp.blogspot.com/-7tWfMFtmNv0/VAJqgGUE8_I/AAAAAAAAA0w/zlH84i-3IJQ/s1600/Omphale%2Bcarnelian%2BLala%2BRagimov.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="277" src="https://3.bp.blogspot.com/-7tWfMFtmNv0/VAJqgGUE8_I/AAAAAAAAA0w/zlH84i-3IJQ/s1600/Omphale%2Bcarnelian%2BLala%2BRagimov.jpg" width="400" /></a></div>
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Omphale, carnelian.</div>
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This was a freehand copy after a larger Roman gem.</div>
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<a href="http://4.bp.blogspot.com/-SGX2vGojZa0/VeDCkrejxQI/AAAAAAAABFs/WS1fm7TrmGI/s1600/20150809_214452-1asm.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://4.bp.blogspot.com/-SGX2vGojZa0/VeDCkrejxQI/AAAAAAAABFs/WS1fm7TrmGI/s320/20150809_214452-1asm.jpg" width="320" /></a></div>
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A cupid riding a panther, carnelian intaglio<br />
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<a href="http://1.bp.blogspot.com/-W-v-V07DAfM/Vrp152tlNtI/AAAAAAAABh8/fAnV0frkGTw/s1600/12407292_940890925995833_264543629_n.jpg"><img border="0" height="320" src="https://1.bp.blogspot.com/-W-v-V07DAfM/Vrp152tlNtI/AAAAAAAABh8/fAnV0frkGTw/s320/12407292_940890925995833_264543629_n.jpg" width="320" /></a><br />
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An engagement ring commission on chrysoprase in 2015<br />
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<a href="http://4.bp.blogspot.com/-3wthuQeG_zA/VvtK6OACFqI/AAAAAAAABrM/h48ZtqNRo3kc3FVYRXta5iKF24QVXrF-A/s1600/10963947_240022416344888_1070115137_n.jpg"><img border="0" height="320" src="https://4.bp.blogspot.com/-3wthuQeG_zA/VvtK6OACFqI/AAAAAAAABrM/h48ZtqNRo3kc3FVYRXta5iKF24QVXrF-A/s320/10963947_240022416344888_1070115137_n.jpg" width="320" /></a><br />
Head of Zeus Olympios intaglio on carnelian and impression,<br />
in progress March 2016<br />
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More photos of the process:<br /></div>
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<a href="http://4.bp.blogspot.com/-CpWdzpZbjlM/VAPS-glQd7I/AAAAAAAAA3I/AKQL_Gd0RZo/s1600/stage1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-CpWdzpZbjlM/VAPS-glQd7I/AAAAAAAAA3I/AKQL_Gd0RZo/s1600/stage1.jpg" width="308" /></a></div>
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Once the gem was on the dop stick, I sketched the design using diamond point and silverpoint and blocked the main shapes in with large round diamond bits. </div>
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Further work was done using smaller round, wheel- and cone-shaped bits.<br />
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The biggest difficulty was not being able to see well because water
obscures the view as you carve, though not as much as the thick oil and
abrasive slurry, which I will try using later. Another difficulty is learning to control the rotating tool
especially when making curved lines.</div>
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In parallel I have also tried my hand at caving miniature black coral sculptures using the rotary tool with steel burs, abrasive wheels, nylon brushes, and polishing wheels and compounds. This was my first time sculpting in the round. <br />
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Cat and rabbit miniature sculptures in black coral</div>
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Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com1Los Angeles, CA, USA34.0522342 -118.243684933.2099567 -119.5345784 34.8945117 -116.95279140000001tag:blogger.com,1999:blog-6001526527421606435.post-8548903714140732402014-04-28T00:07:00.002-07:002014-06-20T10:52:48.872-07:00"An Introduction to the General Art of Drawing" by Willem Goeree. Full text.<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: left;">
<span style="font-size: small;">my related posts: </span><br />
<span style="font-size: small;"><span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/2013/11/treatises.html" target="_blank">1400s-1700s drawing
treatises online </a></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/2013/03/copying-rubens-drawing.html" target="_blank">Copying a Rubens drawing (materials, techniques)</a></span><br />
<span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/2014/02/preparingtodraw.html" target="_blank">Preparing to draw (from 1400s-1700s treatises)</a> </span><br />
<span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/2014/01/hatching.html" target="_blank">Hatching</a><a href="http://lalaragimov.blogspot.com/2014/01/hatching.html" target="_blank"> and shading (from 1400s-1700s treatises)</a> </span><br />
<span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/2013/02/copying-rubens.html" target="_blank">Copying a Rubens painting (materials, techniques)</a></span><br />
<span style="font-size: small;"><span style="font-size: small;"><a href="http://goo.gl/wFDxf" target="_blank">Inspired
by Rubens (Getty Museum page)</a> </span></span><br />
<span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit; font-size: x-small;"><span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/p/blog-page.html">English translations of drawing treatises (Goeree, de Piles, Jombert)</a></span> </span><span style="font-size: x-small;"> </span> </span> </span></div>
<div style="text-align: left;">
<span style="font-size: small;"><a href="http://www.lalaragimov.com/research" target="_blank">Painting materials of Rubens;
bibliography </a><a href="http://lalaragimov.blogspot.com/2013/02/copying-rubens.html" target="_blank"> </a></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/2013/01/unsupervised-printmaking-experiments.html" target="_blank">Renaissance woodcut tools</a></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><a href="http://www.lalaragimov.com/copies" target="_blank">Image gallery: copies and reconstructions</a></span></div>
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<br />
In 1668 Willem Goeree <span class="st">(1635-1711) published an influential treatise on drawing, <a href="http://www.worldcat.org/oclc/39981614" target="_blank"><i>Inleydinge tot de Al Ghemeene Teycken-Konst</i></a>.
In comparison to the treatise of Leonardo which it borrows from, it
contains an unusually large amount of technical information about
drawing materials and techniques. It also deals with interesting
practical matters of learning and teaching drawing, that other treatises
don't touch upon. The book in Dutch was republished and reworked
several times and translated to German and English in the 1600s and
later. I also find bits and pieces of its text used in numerous other
drawing manuals and treatises (e.g. Salmon, <a href="http://www.lalaragimov.com/r/rogerdepiles" target="_blank">de Piles</a>, <a href="http://lalaragimov.blogspot.com/2013/12/jombert-drawing-treatise-notes.html" target="_blank">Jombert</a>) without a
mention of Goeree's authorship.</span><br />
<br />
<span class="st">I
have transcribed and posted the 1674 English translation keeping the
original spelling. There are three illustrations in the text. I substituted them with corresponding plates from editions of Goeree publicly available on-line. </span><br />
<br />
<span class="st">This English translation also contains many plates at the end that I
haven't included because of their copyright status. These plates don't appear in Goeree books in Dutch or
German. They represent the
traditional drawing book repertoire: eyes, noses, mouths, hands, feet,
faces, and whole figures, most of them rather unrefined copies of well-known drawing book prints (</span><span class="st"><span class="st">I could recognise Fialetti, Palma il Giovane, Reni, Cousin, maybe Bloemaert and Guercino; others I have not yet identified). </span> </span><br />
<br />
<span class="st">I've
done this project on my own and without feedback, so I will appreciate any comments,
corrections, suggestions and any other input. I
would also be happy with a greeting from anyone who studies this subject.</span><br />
<br />
<br />
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<a href="http://3.bp.blogspot.com/-YPCvCcIZHSY/U12ZOqUsWkI/AAAAAAAAAv4/bl1s05hRQG4/s1600/goeree+illustration+1678+ab.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-YPCvCcIZHSY/U12ZOqUsWkI/AAAAAAAAAv4/bl1s05hRQG4/s1600/goeree+illustration+1678+ab.jpg" height="320" width="179" /></a></div>
<br />
<div style="text-align: center;">
Illustration from a 1678 German edition (digitized <a href="http://digi.ub.uni-heidelberg.de/diglit/goeree1678/0331" target="_blank">here</a>)<br />
<span class="st">________________________________________________________</span></div>
<br />
<div style="text-align: center;">
<span class="st">AN INTRODUCTION TO THE GENERAL ART OF DRAWING </span></div>
<div style="text-align: center;">
<span class="st">(for full name see title page) </span></div>
<div style="text-align: left;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree0.html" target="_blank"><br /></a></div>
<div style="text-align: left;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree00.html" target="_blank"><span class="st">Title Page and Introduction </span></a></div>
<div style="text-align: left;">
<span class="st"><br /></span></div>
<div style="text-align: left;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree01.html" target="_blank"><span class="st">CHAPTER I</span></a><br />
<span class="st">What the Art of Drawing is, and in what it doth consist </span><br />
<br />
<span class="st"><span class="st"><span style="font-size: x-small;">list of side notes:</span></span> </span><br />
<i><span class="st">Wherein the Art of Drawing doth consist. </span></i></div>
<div style="text-align: left;">
<i><span class="st">The Art of Drawing necessary to all men.</span></i><br />
<i><span class="st">Principally to Picture-drawers.</span></i><br />
<i><span class="st">The Art of Drawing is the soul of the art of Painting. </span></i><br />
<i><span class="st">The Art of Drawing needeth the whole man</span></i><br />
<i><span class="st">The Art of Drawing ought to have his Fundamental Rules as well as other Arts.</span></i><br />
<i><span class="st">In the instruction you must go from step to step</span></i><br />
<i><span class="st">A Simile or Similitude.</span></i><br />
<i><span class="st">You must begin for the first step and go not the second before you well understand the first.</span></i><br />
<i><span class="st">The Art of Drawing, beloved of all men.</span></i><br />
<i><span class="st">The first Mover in this desire which comes of a natural inclination<br />Parents ought to observe the natural inclination of their children.<br />How you may know whether a child be born to the Art of Drawing or not.<br />Drawers and Picture Drawers must be of a singular nature.<br />Similitude.<br />What a young Learner must do.<br />How instruction is given.</span></i><br />
<i><span class="st">Observation of this introduction</span></i><br />
<i><span class="st">The Learner must apply himself to a good Master<br />Wherefore?</span></i><br />
<span class="st"><br /><a href="http://lalaragimov.blogspot.com/2014/04/goeree2.html">CHAPTER II</a></span><br />
<span class="st">The first Beginning of the Art of Drawing.<br /> </span><br />
<i><span class="st">The first exercise.</span></i><br />
<i><span class="st">Perspective.</span></i><br />
<i><span class="st">The first beginnings are about some particular Members.<br />Faces subject to most changes.<br />Oval.</span></i><br />
<i><span class="st">What the Oval doth signifie.</span></i><br />
<i><span class="st">Reason wherefore this Cross in the Oval is not understood of the young Learner.<br />A great fault.</span></i><br />
<i><span class="st">Means to understand to draw with judgment all manner of faces.</span></i><br />
<i><span class="st">A Fore-right face.</span></i><br />
<i><span class="st">a 3/4 face</span></i><br />
<i><span class="st">A face looking downward</span></i><br />
<i><span class="st">A face looking upward.</span></i><br />
<i><span class="st">A side face </span></i><br />
<i><span class="st">The profit that comes by the manner of this instruction.<br />Good Masters not always good Teachers</span></i><br />
<span class="st"><br /></span>
<a href="http://lalaragimov.blogspot.com/2014/04/goeree3.html"><span class="st">CHAPTER III</span></a><br />
<span class="st">Of the Order and Manner to be Observed in the Art of Drawing.<br /> </span><br />
<i><span class="st">First step. To draw after Draughts very profitable<br />Second step. To draw after Pictures. Requires greater judgement. For what reason</span></i><br />
<i><span class="st">The third Step.</span></i><br />
<i><span class="st">A good Figure necessary to draw after.<br />The reason</span></i><br />
<i><span class="st">The fourth Step</span></i><br />
<i><span class="st">Perswasion to much drawing.</span></i><br />
<i><span class="st">Example to others.</span></i><br />
<i><span class="st">Custom in Rome</span></i><br />
<i><span class="st">This should invite us to imitation.</span></i><br />
<br />
<span class="st"><a href="http://lalaragimov.blogspot.com/2014/04/goeree4.html">CHAPTER IV</a> </span><br />
<span class="st">Of those things which in every degree of the Art of Drawing are necessary to be observed.<br /> </span><br />
<i><span class="st">Drawing after Draughts.<br />Drawing after a Picture.<br />How to place a picture.<br />Distance.<br />Put your Principal right before you </span></i><br />
<i><span class="st">The beginning of a Draught.<br />You must assure your self of every stroke.</span></i><br />
<i><span class="st">With patience your must overcome your passions.<br />The Actions must appear as first in your scetzing.</span></i><br />
<i><span class="st">To use care, thus in drawing a Schetz neater, that you lost not the action. <br />Confer your draught with your principal.<br />Faulss (as soon as seen) to correct.<br />Better is one good Draught, then 100 without observation<br />You must sometimes behold your work with a fresh eye.<br />How it comes to pass that we better discern faults. <br />Reason wherefore<br />Example</span></i><br />
<span class="st"><br /><a href="http://lalaragimov.blogspot.com/2014/04/goeree5.html">CHAPTER V </a></span><br />
<span class="st">Of the things which in the third Step, viz. in Drawing after Plaister-Rounds, or Embossed Works, are necessary to be observed.</span><br />
<br />
<i><span class="st">To chuse a good light to draw after Plaister-Rounds.<br />Means how to amend the light.<br />At what height you shall chuse your light.<br />Night-light.<br />How to use the same.<br />Night-light giveth hard shades.<br />Remedy</span></i><br />
<span class="st"><i>What distance to use in sitting.<br />To observe how the parties the one under the other do appear.</i><br /><br /><a href="http://lalaragimov.blogspot.com/2014/04/goeree6.html">CHAPTER VI</a> </span><br />
<span class="st">Of
the anatomie, or Knowledge of the inward and outward forme of the
Humane body, concerning Muscles and Motions of the Arteries.<br /> </span><br />
<i><span class="st">To know Anatomy necessary.<br />Profitable.<br />Abuse.<br />Means to exercise themselves herein.<br />Anatomy in Plaister<br />Divers Books of Anatomy.<br />From the Books go to the life.<br />Not to make all Muscles.<br />Wherefore.<br />In what part you must observe your Muscles most.<br />Wherefore<br />Fat bodies have small Muscles.<br />Fair bodies must not be muscled hard.<br />Wherefore.</span></i><br />
<i><span class="st">Of Muscles, many changes.<br />In what parts the most changes are incident.</span></i><br />
<br />
<a href="http://lalaragimov.blogspot.com/2014/04/goeree7.html">CHAPTER VII </a><br />
<span class="st">Of those things, which in drawing after the life, are necessarie to be observed and understood.<br /> </span><br />
<i><span class="st">The natural Life reacheth all things.</span></i><br />
<i><span class="st">To chuse a College<br />To what purpose<br />Place, light.<br />Model of what shape.<br />Place, light.<br />Divers manners to set the Model in action.<br />In all actions Members must make a Compact together. <br />What Principally is to be observed in the good actions.<br />Examples of four footed beasts.<br />The good Position Of a figure.<br />Out of the tending of the Members to see what doth the figure.<br />The manner how to sit to draw. You shall not look too much, or imitate anothers Draught. <br />Unskilful Drawers may place themselves with them that are experienced<br />For what reason. <br />What is to be observed commonly. <br />The Model shall not stand too long in his action.<br />Wherefore<br />Observation<br />To learn to draw compleatly<br />To draw Landskips</span></i><br />
<span class="st"><br /><a href="http://lalaragimov.blogspot.com/2014/04/goeree8.html">CHAPTER VIII </a></span><br />
<span class="st">Of the several sorts of Chalks and Crions for the Use of Drawing, and upon what they are to be used.<br /> </span><br />
<i><span class="st">Charcoal.<br />Black lead good for to scetch withal, principally for Masters, that are sure in their drawing. <br />Red chalk.<br />Black chalk.<br />Faults<br />Use.<br />Charcoal dipt in Linseed-oyl.<br />One or two houres.<br />Tobaccho---Pipe-clay.<br />White Chalk<br />Coloured Crions how to make them<br />Whereupon to draw</span></i><br />
<i><span class="st">White Paper.<br />Coloured paper.</span></i><br />
<span class="st"><br /></span></div>
<a href="http://lalaragimov.blogspot.com/2014/04/goeree9.html"><span class="st">CHAPTER IX</span></a><br />
<span class="st">Of the Use and Manner of Drawing.<br /> </span><br />
<i><span class="st">Learners are counselled to follow their Principal<br />Manner how to do.<br />How to hold your drawing Pen.<br />Rouseling<br />Rouseling alone not very graceful.<br />Hatching and doseling a good manner.<br />Doesling.<br />Common mishap.<br />Remedie.<br />Manner how to smooth som heightenings.<br />Washing.</span></i><br />
<i><span class="st">Use. </span></i><br />
<span class="st"><br /><a href="http://lalaragimov.blogspot.com/2014/04/goeree10.html">CHAPTER X</a> </span><br />
<span class="st">Of the General and his Parts, and how they must be understood and observed.<br /> </span><br />
<i><span class="st">What Parts and Generals are.<br />Use<br />How to see them.<br />For what reason.<br />Example<br />Distinction.<br />Parts also have a generality in themselvs, altho' they are Part to the general.<br />Example.<br />Likeness of things dwelleth most in the general.<br />Example.<br />2 Example.</span></i><br />
<i><span class="st">Contrapositio.</span></i><br />
<a href="http://lalaragimov.blogspot.com/2014/04/goeree11-15.html"><span class="st"><br /></span></a>
<a href="http://lalaragimov.blogspot.com/2014/04/goeree11-15.html"><span class="st">CHAPTER XI </span></a><br />
<span class="st">What light and shadows be, and how thorow the same all things come to have their being.<br /> </span><br />
<i><span class="st">Lights and shades can express all things.<br />Lights and Shades can express all things.<br />Prove.<br />General shadow.<br />Shadows upon shadows.</span></i><br />
<span class="st"><br /></span>
<span class="st"><a href="http://lalaragimov.blogspot.com/2014/04/goeree11-15.html">CHAPTER XII</a> </span><br />
<span class="st">Of the Plain, smooth, sharp, and sweet drawing.<br /> </span><br />
<i><span class="st">Learners abhorre plain drawing.</span></i><br />
<span class="st"><br /><a href="http://lalaragimov.blogspot.com/2014/04/goeree11-15.html">CHAPTER XIII</a></span><br />
<span class="st">Of the Heightenings.</span><br />
<br />
<span class="st"><a href="http://lalaragimov.blogspot.com/2014/04/goeree11-15.html">CHAPTER XIV</a> </span><br />
<span class="st">Of the Reflection.<br /> </span><br />
<i><span class="st">Reflections wheron they fall most.<br />Reflection by what occasioned.</span></i><br />
<i><span class="st">Use not too much of reflection.<br />Wherefore.<br />Not to make reflection without cause.</span></i><br />
<span class="st"><br /><a href="http://lalaragimov.blogspot.com/2014/04/goeree11-15.html">CHAPTER XV</a><br />Of the Observation of Perspective of light and dark.<br /> </span><br />
<i><span class="st">Necessitie of observation.<br />Similitude.<br />What you shuld take heed of in your observation<br />Dark comes forward as well as light.</span></i><br />
<span class="st"><br /><a href="http://lalaragimov.blogspot.com/2014/04/goeree16.html">CHAPTER XVI</a> (one illustration) </span><br />
<span class="st">Of the Circumferent or out-stroke, and his looseness and a good Position, as also of keeping of their Parts.<br /> </span><br />
<i><span class="st">Scetch.<br />Circumferent stroak.</span></i><br />
<i><span class="st">Strokes on the side of the light to make sweet.<br />Draughts must be drawn without circumferent strokes, <br />The life is without strokes.<br />Example<br />Strokes you must not draw till necessitated.<br />Small things are drawn without strokes, and appear as if they were.</span></i><br />
<br />
<span class="st"><a href="http://lalaragimov.blogspot.com/2014/04/goeree17.html">CHAPTER XVII</a><br />Of the Finishing of a Draught.<br /> </span><br />
<i><span class="st">Profit of this observation.<br />Heightenings never to make so high as the highest wont.<br />Observation<br />In Pictures dark and light difficult to distinguish.<br />Wherefore.</span></i><br />
<br />
<span class="st">***</span><br />
<span class="st">An Addition</span><br />
<br />
<br />
PLATES (see my introduction above)<br />
<br />
<br />
<span class="st"><br /> </span></div>
Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com2tag:blogger.com,1999:blog-6001526527421606435.post-88287161896329919302014-04-27T18:04:00.001-07:002014-05-15T10:34:31.044-07:00Goeree: Title page, Introduction<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: center;">
<br />
<br />
<i><span style="font-size: large;">An introduction to the general art of drawing</span>. </i> </div>
<div style="text-align: center;">
<br />
A 1674 English translation of </div>
<div style="text-align: center;">
a drawing treatise by Willem Goeree (1635-1711)<br />
<span style="font-size: x-small;">Transcript by Lala Ragimov</span> </div>
<br />
<div style="text-align: center;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree-inleydinge-english.html" target="_blank"><<Previous Chapter</a><a href="http://lalaragimov.blogspot.com/2014/04/goeree-inleydinge-english.html"> </a><a href="https://www.blogger.com/null" target="_blank">Table of Contents</a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree01.html">Next Chapter>></a><br />
<br />
<br /></div>
<span class="st"><br /></span>
<br />
<div style="text-align: center;">
<span class="st"><span style="font-size: x-large;">AN<br />INTRODUCTION</span><br />TO THE <br /><span style="font-size: x-large;">General Art</span> <br />of </span><br />
<span class="st"><span style="font-size: x-large;">DRAWING</span><br />Wherein is set forth<br /><span style="font-size: large;">The Grounds and Properties, which of this infallible<br />and judicious ART are necessary to be<br />known and understood.</span><br />BEING<br /><span style="font-size: large;">Not only Profitable unto them that Practise Drawing; </span><br />VIZ.<br /><span style="font-size: large;"><i>Picture-Drawers, Engravers, Carvers, Stone-Cutters,<br />Jewellers, Goldsmiths, Silversmiths, </i>&c.</span><br />But Also<br />To all Lovers and well-affected, as well to this as to other ARTS (flow-<br />ing from thence) a commodious Knowledge Communicated: With<br />an Illustration of twenty five Copper-Prints of Figures, <br />for young Learners to practise by.<br />LIKEWISE<br />An
Excellent Treatise of the Art of Limning, in the which the true
Grounds, and the perfect Use of Water-Colours, with all their
Properties, are clearly and perfectly taught.</span><br />
<span class="st">___________________________________________________________________</span><br />
<span class="st"><br />Formerly set out by that Excellent Limner Mr. <i>GERHARD</i> of <i>Brugge</i>. And now much<br />Augmented and Amended, with some Observations, teaching (besides Illumination)<br />the Colouring and Painting with Water-Colours.<br />Set forth at <i>Middleburgh</i> by <i>W. GORE</i>. Truly Translated into <i>English</i> by J.L. Published<br />by <i>ROBERT PRICKE</i> for the Lovers and Practitioners of this Noble and </span><br />
<span class="st">Admirable ART.<br />___________________________________________________________________</span><br />
<span class="st"><br /><i>LONDON.</i><br />Printed for <i>Rob. Pricke</i>, and are to be sold at his Shop Adjoyning to <i>Cripple-Gate</i> within :<br />Where likewise is very good Choice of <i>Italian, French, Dutch and English</i> Prints 1674.</span></div>
<div style="text-align: center;">
<span class="st"><br /></span></div>
<div style="text-align: center;">
<br />
<br />
<br />
***</div>
<div style="text-align: left;">
<div style="text-align: center;">
<span class="st"> ___________________________________________________________</span><span class="st"> </span></div>
<br />
<div style="text-align: center;">
<i><span class="st">To the Lovers and well-affected to the Art of Drawing.</span></i></div>
<br />
<i><span class="st"><span style="font-size: large;">I</span>T
will not be necessary to detain you with a long Prologue, or to make the
Noble Art of Drawing more Palletable in dressing of it, with many
elegant, Rhetorical and Figurative speeches, because it is by all men of
sound judgement in that esteem that she needeth not in the least those
kind of Palliations; it is known sufficiently that all men want and stand
in need of the Art of Drawing, being as a Fountain from whence all and
singular the other Arts do flow and proceed; and although they may not
stand in need of the daily practice or exercise of Drawing; yet if the
knowledge and the Ground-Rules belonging unto that Art, none should be
ignorant of, for the reason aforesaid; and therefore at all times I much
have admired, that among so many brave, known, well-experienced,
esteemed and renowned Artists, there has bin none found to undertake
that labour and travel, as to bring forth somthing unto the world,
touching the profitable and infallible instruction in the Art of
Drawing; but not of Figures only, Drawing-books, and innumerable images,
(of which the world is full) which to the young scholars, (Pict
re-drawers, Silver-smiths, Glass-Painters, Carvers and Stone-Cutters,
which commonly do meet in the Art of Drawing afar off, and beget a
horror and aversion to understand the same judicially and fundamentally)
are given to draw after, and Ape-like to imitate, just as Parrots are
taught to speak; but that thorow judicial, infallible and
incontradictory Reasons according to a certain Rule in the which the Art
of Drawing now in our days doth flourish, and hath set forth some light
in the dark understandings of the young Practitioners, might arise, and
to continue the same light; and communicate the same to all Posterity
(as their heir) after them.<br /> This (to speak plain) hath moved me, for
to finish that, which others (whom it would have becom far better in
respect of their office and place) have left undone: and to bring forth
unto the view of the World this short Introduction to the Art of Drawing
in general, not that I intend hereby to gain unto me great
commendations and praises, but that (besides the benefit hereby
intended unto youth) others (whom God and Nature hath indued with a
greater talent of knowledge,) might not bury their better knowledge
herein in the grave of Oblivion, but put and give forth the same to
their Neighbor, considering that sentence, </span></i><span class="st">Non nobis tantum natifumus
sed etiam Posteritati</span><i><span class="st">; like as we then also have no sinister ends in
this, but only the sole good, benefit and profit of the young
Practitioner.<br />Hoping that in case I have bin so happy, as to have
(thorow a clear and judicious expression of my sense and meaning, done
any good and profit to the publick, you would be pleased favourably to
accept of it; and if it falls out otherwise, I acknowledge however, that I have spared no labour to set forth this Book with as few words as
possibly my ability would permit, and therefore I desire that this my </span></i></div>
<div style="text-align: left;">
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
***<i><br /></i></div>
<span class="st"><i><br />short
lesson may be read and read again; and then according to the cast which
the Ballance of infallible Reason will give, may be judged, and finde
your favourable acceptance. Be not offended with the common stile,
neither the strange words, for I have used such as are proper to the
Art, and makes the nearest expressions of my meaning.<br /> I expect then,
that this small labor which I have bestowed to pass away time, and taken
as a repose from my daily and usual employment, to the good and benefit
of all Lovers of the Art of Drawing, will be favourably accepted of and
that it will be made use of with profit, in the exercise of the Art,
that we seeing your good inclination to this small Introduction, might
thereby be spurred on (if God be pleased to grant us health) to write
some further thing of the Art of Painting also, of which very little is
written, and that not in our Mother-tongue, which can add anything to
the daily exercise, or give any certain rules how best to further that
Art of Painting.<br /> Although I am not ignorant, that some things is come
forth appertaining to this study, and the same such as carry the name
of the light of Painting, and the Art of Drawing in the Front, which has
many Exemplars of Heads, Armes and Legs, Academy Figures, and other
Proportions measured according to the Proportion of the Five Orders of
Columes; and beside those, Exemplars of all sorts of Beasts.</i></span><br />
<span class="st"><i>
But
how sleightly, and with what little care is written of the same, let
those judge, that have the right and full knowledge of the Art; being
certain, that no less then the property of the same is thought in it: so
that till now, little profit is conveyed thereby to the young
Practitioners, wherein the secret Mysteries, Power and Propertie of the
Art of Painting, naked and clear, is discovered, which then was most
necessary, neither is it to be doubted, but that many with earnest
desire do long after it.<br /> Nevertheless, I hope that such shall have
once their desires answered, for to that end and purpose I have already
many rare an choice pickt-out observations, and profitable lessons,
concerning which I have made a rude draught, wherein the reasonable
content (of Drawing, Building, Measuring, Perspective, Ordination,
Invention, or Composing of Histories, ordering of Figures, dismembring
of Figures; of Muscles, Actions, Motions, good Position, Beautie,
Proportion, Measure, expression of Passions, even them of the heart,
cloding, Presentation of the natural life, and in them the becoming
incidents, Landskips, far-off Prospects, Skies, Storms, Sun-shines,
Lights, Shadows, Reflections, Colouring, Observations of strong and
faint, Disputes, outwardbendings, besides dissolving of many speculative
questions, and all things which further appertained to that excellent
and most famous Art of Painting,) shall be put forth in one easie and
rational Method, and demonstrated with infallible reasons and figures,
in such a manner, that none to this day has yet produced the like; use
this in the mean-while, as a fore-Runner of that which I intend to bring
forth to the publicke view of the World.</i></span><br />
<span class="st"><i> </i><br />VALE. </span></div>
<div style="text-align: left;">
<br />
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<div style="text-align: center;">
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<div style="text-align: left;">
<span class="st"><br /></span></div>
<div style="text-align: left;">
<span class="st"><br /></span></div>
<span class="st"><br /></span>
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Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0tag:blogger.com,1999:blog-6001526527421606435.post-73021296233841952852014-04-27T18:01:00.001-07:002014-05-05T14:08:43.693-07:00Goeree, Chapter I<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: center;">
<div style="text-align: right;">
<i><span style="font-size: large;"><span style="font-size: x-small;">transcribed by Lala Ragimov, original spelling kept</span> </span></i></div>
<br />
<i><span style="font-size: large;">An introduction to the general art of drawing</span>. </i> </div>
<div style="text-align: center;">
<br />
A 1674 English translation of<br />
a drawing treatise by Willem Goeree (1635-1711)</div>
<br />
<div style="text-align: center;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree00.html" target="_blank"><<Previous Chapter </a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree-inleydinge-english.html" target="_blank">Table of Contents</a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree2.html" target="">Next Chapter>></a><br />
<br />
____________________________________________ </div>
<br />
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
CHAP. I<i>. </i></div>
<br />
<div style="text-align: center;">
<i>What the Art of Drawing is, and in what it doth consist.</i></div>
<br />
<span style="font-size: large;">T</span>HE
ART of Drawing, (of which very little for fundamental Instruction i<span style="font-size: xx-small;">(s)</span>
written, of which notwithstanding never can be written sufficient
enough) may justly be called a bearing Mother of all Arts and Sciences
whatever, for whatsoever is made begets thorow the same a good Aspect
and well-being; and besides all this, the Art of Drawing is the
Beginning and End, or Finisher of all things imaginable, wherefore she
may be called a Sense of Poesie, a Second Nature, a Living Book of all
things past. She is called a Poesie, because that she thorow falshoods
and masked faces, represents unto the Beholder the Truth of things
present and past, and by pleasant resemblances makes us in a manner
believe to see that, which indeed we see not. A Second Nature she is
called, because she teacheth thorow Drawings, to imitate and to set
forth all the Works of the Creation. A Living Book she is called, of
things present and past; because that she brings into remembrance the
beholder of her, thinks long since past, so that at sight, or the least
Aspect of any praise-worthy History (in our minde, and in our
understanding) we receive a profitable exercise, a fair invitation to
imitate their laudable Acts, and a Pleasure in beholding; and more then
this, she brings to remembrance the deeds of People and Nations, dead
long since; and the features and resemblance of our Fathers,
Grandfathers, and great Grandfathers, she represents as living in dead
shades long after their time.<br />
<br />
<i>Wherein the Art of Drawing doth consist.</i><br />
<br />
The
Art of Drawing doth consist in this, that she (by means of Drawing,
Shades and Heightnings, all shapes and forms that are in being, or
imaginable) doth express in plain, as if they were really those things
which they only represent.<br />
<br />
<i>The Art of Drawing necessary to all men.</i><br />
<br />
The
knowledge of this Art is necessary to all men, let them be of what
trade or science whatsoever, and not only to those that are necessitated
thorow the same, to procure their daily subsistence; but she is
necessary to be known and understood of all men, as I said before; and
therefore she, as the Rudder of a Ship, giveth judgement and reason
about all proposals distinctively, and produceth the end of her intended
work to appear in a compleatness.<br />
<br />
<i>Principally to Picture-drawers.</i><br />
<br />
Forasmuch
then as she is so necessary, having the seed of all Arts and Sciences
inclosed in her womb, who then will not judge that she must be the
beginning and end of that famous and high-esteemed Art of
Picture-drawing: certainly she is useful in all Sciences, but here she
is most necessary: here she must do all, here she must be the soul
that giveth life to the Art of Picture-drawing.<br />
<i><br />The Art of Drawing is the soul of the art of Painting.</i><br />
<br />
For
as the soul dwelleth in a man, and makes the body amiable and pleasant,
so likewise the Art of Drawing maketh the Art of Painting have life and
lively representations; and as much as the soul liveth without the
body, but the body without the soul is dead; so likewise the Art of
Drawing can live in a compleat draught, without Painting, but painting
without drawing is dead; and in short, as the soul and body maketh a
perfect man, so the Art of Drawing and the Art of painting produceth a
famous picture, nevertheless, it is, and remains indisputable, that the
Art of Drawing doth surpass the Art of painting (each Art in particular
by it self considered) by far.<br />
<br />
<i>The Art of Drawing needeth the whole man</i><br />
<br />
Now forasmuch as the Art of Drawing extendeth it self very far, and containeth in her self many, not imaginable mysteries and secrets, and
therefore requireth the entire judgement of the whole and sole man; for
to learn to understand the same judicially, it is requisite therefore
that young Learners receive a short and easie introduction, but
judicial, and that the Instructors, (forasmuch as may be possible) shew
and teach their young Learners the properties and peculiar Observations
belonging to this Art, so naked and clear, that even the dullest and
stupids of wit and understanding, might reap good benefits thereby in
time, <i>tempore & labore</i>.<br />
<br />
<i>The Art of Drawing ought to have his Fundamental Rules as well as other Arts.</i><br />
<br />
For
this art ought not to be wanting in this, less then other Arts and
Sciences are, which have their Books, Beginnings and Fundamental Rules:<br />
<br />
<i>In the instruction you must go from step to step</i><br />
<br />
And
in respect, that the manner of instruction is a great matter, I have
purposed to proceed slowly, by degrees, from step to step, judging this
to be the easiest and the best way: for it is certain, that in all the
operations of our senses, none is more ready then the sense of feeling,
which in a moment discloseth things innumerable, yet in such a manner,
that it doth distinguish but one at once:<br />
<i><br />A Simile or Similitude.</i><br />
<br />
By
example, if you with the opening of your eyes cast your eyes upon this
leaf of writing, you shall be able to judge, that the whole leaf is
fill'd with many and sundry Letters, without observing what letters they
be, or what they express; so that it is necessary the same to reade
from word to word, and from line to line, before you can understand or
judge of the contents of the same.<br />
<i><br />You must begin for the first step and go not the second before you well understand the first.</i><br />
<br />
In
the same manner, I speak to all such as by nature are inclined unto
this Art, and have a desire to attain to a compleat understanding in
this Art of Drawing, that they make their beginning from the extremest
parts, and keep such a rational order in the same, as not to step from
this to a second, before the first be well-known and judicially
understood and performed by them.<br />
<i><br />The Art of Drawing, beloved of all men.</i><br />
<br />
It
is known also, and daily experience doth teach us, that most men even
from their youth, love the Art of Drawing, so that we may behold
children compelled by natural inclination to draw shapes of man and
beast, and many times draw such things which causes many times great
admiration in us; but notwithstanding that this Art is pleasant to all
men, yet is she difficult in her Perfection, because she undertakes to
do all things: so by consequence a man must understand every thing to
that Art appertaining.<br />
<br />
<i>The first Mover in this desire which comes of a natural inclination.</i><br />
<br />
Therefore
desire must possess here in the first place, <i>viz.</i> such a desire, which
together with a good disposition of a natural inclination, is
well-affected to this Art, in respect then that Children in their youth
by nature are inclined to something more particular then afterward they
will be.<br />
<br />
<i>Parents ought to observe the natural inclination of their children.</i><br />
<br />
<i>How you may know whether a child be born to the Art of Drawing or not.</i><br />
<br />
The parents therefore should diligently
observe the natural inclination of their young children, forasmuch as it
is not in the power of the young children, neither in the power of the
Parents to make of them a good Draughtsmen, much less good Limners or
Picture-drawers, but onely to make notice how by nature they are
inclined toward the same; I say therefore, that if the Childrens
Practice come from some natural instinct or inclination, they may
promise unto us something that is good; not as we behold them playing,
and without pain or trouble to draw out anything with single-strokes,
but when we observe them to be inclined that, which they out of their
head, have drawn to shadow and to lightning also, and so to continue to
the finishing of that work: And those we call Drawers and
Picture-Drawers born by nature.<i><br /><br />Drawers and Picture Drawers must be of a singular nature.<br /><br />Similitude.<br /><br />What a young Learner must do.</i><br />
<i> </i> <br />
In respect then, that
in the beginning as well as in the ending of this study, they must be of
a singular nature, <i>viz.</i> of a gentle, quiet and speculative spirit,
devoutly observing all things before him, ruminating in himself how he
shall remember, and keep in remembrance at least the best figures as are
presented to his view, doing by imagination like a Looking-Glass, which
changes himself in such a form as is put before him, and thus
represents a Second Nature, therefore a young learner as would make a
good Progress in this Art, must use himself to have his thoughts
continually occupied, and make so many projections, and several
inventions of Figures in his brain, as he meets withal, and are worthy
the beholding. Then he must use himself to stay, for to see the same in a
better posture, enclining the same by his draught to some common rules,
well observing the business, plane, circumstances, light, and shade,
whereof in this place I shall teach further and plainer.<br />
<br />
<i>How instruction is given.</i> <br />
<br />
This
exercise doth consist in two general Members: the one is the
Instruction, the other is the practice of the Learner; the Instruction
is done by a Master of the Nature; after that, the life is the
instruction it self; the instruction of the Master is by word of mouth,
or active shewing the Learner by drawing<br />
<br />
<i>Observation of this introduction.</i><br />
<br />
before
him, or likewise of writing: by the last of these we intend to shew all
things briefly and in short, that thorow this short instruction of
mine, of the Art of Drawing, Limning and Painting, you may be led to the
commendable art of limning, graving and painting, never enough to be
praised and exalted, being the whole scope and drift of our intended
work.<br />
<br />
<i>The Learner must apply himself to a good Master.<br /><br />Wherefore?</i><br />
<br />
It
is fit and necessary, that the Learner apply himself to a good Master,
under whose experience, care and good instruction he may gain a good
hand in drawing, and well-grounded knowledge in ordering his Figures,
and making them of actions requisite, that after he comes to behold the
life it self, he thorow his own genius, and his own exercised reason,
all things nakedly and compleatly, might see and understand to be like
formed with those things, of which he was formerly instructed.<br />
<br />
<br />
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Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0tag:blogger.com,1999:blog-6001526527421606435.post-8963970208939397732014-04-27T17:52:00.001-07:002014-05-05T14:08:15.229-07:00Goeree, Chapter II<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<div style="text-align: center;">
<div style="text-align: right;">
<i><span style="font-size: large;"><span style="font-size: x-small;">transcribed by Lala Ragimov, 1674 original spelling kept</span> </span></i></div>
<br />
<i><span style="font-size: large;">An introduction to the general art of drawing</span>. </i> </div>
<div style="text-align: center;">
<br />
A 1674 English translation of<br />
a drawing treatise by Willem Goeree (1635-1711)</div>
<br />
<div style="text-align: center;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree01.html" target="_blank"><<Previous Chapter </a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree-inleydinge-english.html" target="_blank">Table of Contents</a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree3.html" target="_blank">Next Chapter>> </a><br />
<br />
___________________________________________ </div>
<br />
<br />
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">CHAP.
II</span></span></div>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>The
first Beginning of the Art of Drawing.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>The
first exercise.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: large;">T</span>O
come now to the first exercise of a young Learner, it is then most
necessary, that he in the first place learn to understand the Art of
Perspective, that by the knowledge of the same he may come to
understand, how to give unto all things a due and just proportion of
augmentation and diminution, without which knowledge the Ground of
this Art, neither the reason of all things that are, and may be made,
cannot be judged nor understood</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Perspective.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-style: normal;">And
in this respect that this Art of Perspective doth consist in certain
lines, which appear to foreshorten and diminish all things which we
behold with our eyes, and to the same (as to a particular study) many
demonstrations and figures are necessary, we have nevertheless
resolved to pass them by, in regard there be several Books written,
even of great and famous Masters, </span><i>viz.</i><span style="font-style: normal;">
The Works of </span><i>Serlius</i><span style="font-style: normal;">,
</span><i>Marelois
</i><span style="font-style: normal;">
and </span><i>Vignola</i><span style="font-style: normal;">;
or </span><i>de
Vries</i><span style="font-style: normal;">,
the Lord </span><i>de
Sargus</i><span style="font-style: normal;">
and </span><i>Boss</i><span style="font-style: normal;">;
and principally that most famous work of the Learned Jesuit, but a
little while since set forth in our </span><i>English</i><span style="font-style: normal;">
Language, in which is taught the Fundamentals of Perspective, out of
the Geometrical square or Platform, to bring all things thorow a
Geometrical square foot in Perspective; and to do the same also</span> by
the same means in Arches, and roofs of Churches, unto whom I will
recommend all Learners, and go forward with our Art of Drawing; but
in regard that most Learners at their first begining may be too
young, and know not how to apprehend those things compleatly, yet
shall the Master as soon as possible open the Learners eyes, and
teach him the Art of Perspective, and that the Learner together with
the Art of Drawing, might also learn to know and understand the Art
of Perspective also.</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>The
first beginnings are about some particular Members.</i></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><i><span style="font-size: small;"><span style="font-family: inherit;"><i>Faces
subject to most changes.</i></span></span></i></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><i><span style="font-size: small;"><span style="font-family: inherit;"><i><span style="font-size: small;"><span style="font-family: inherit;"><i>Oval.</i></span></span> </i></span></span> </i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-style: normal;">The
beginings then in the Art of Drawing, are first about the knowledg
how to draw some particular members of the bodies of men, </span><i>viz</i><span style="font-style: normal;">.
Heads, Faces, Armes, Hands, Legs, Feet, &c. of which there are
many Copies extant in Print,</span> which
also with profit for the first begining is best to be used
principally for to learn how to draw a face or head thereby, being
subject to most changes, and there we
will instruct the Learner, first of the Oval, with his several
changes and variations, and of the Cross in the same, because the
Learner may learn to understand the better all bowings and
returnings, reclinations and inclinations of all sorts of faces,
according to the Examples at the End of this Book.</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>What
the Oval doth signifie.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-style: normal;">Now
it is necessary, that in short they are instructed in this, <i>viz</i>. that
the Head in general has the form or shape of an Egge, and therefore
according to the Latin is called </span><i>Ovale</i><span style="font-style: normal;">;
the things belonging to such an head or face, are the eyes,
eye-brows, nose and ears; and that they may have their due situations
and places, comes to pass by means of the Cross thorow the Oval.
Thus the perpendicular in the Oval being divided in four equal parts,
makes the whole head to be four Noses in Height, but the face only of
three noses; and the diameter crossing the perpendicular is divided
into five equal parts, each being the bredth or wideness of one eye,
and this Diameter is the ocular line wherein the eyes are to be
placed, and therefore a streight line is to be drawn from the top of
the right ear, thorow both eyes, to the top of the left ear, and from
above thorow the midst of the Nose, Mouth and Chin is drawn the whole
line which is called Perpendicular crossing the Diameter or ocular
line at right angles, which together is called the cross of the Oval,
upon which cross then (let the face turn which way it will) the eyes,
nose, mouth and ears must be placed in their due and proper places,
as in this face foreright you may observe. </span></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-vOYTPkmtU6M/U12nb9-F8kI/AAAAAAAAAwM/ikAMMy1cKRg/s1600/page+goeree+heidelberg.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-vOYTPkmtU6M/U12nb9-F8kI/AAAAAAAAAwM/ikAMMy1cKRg/s1600/page+goeree+heidelberg.jpg" height="320" width="175" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: x-small;">Illustration </span><br />
<span style="font-family: inherit; font-size: x-small;">(German edition, 1678, </span><br />
<span style="font-family: inherit; font-size: x-small;">digitized <a href="http://digi.ub.uni-heidelberg.de/diglit/goeree1678/0331" target="_blank">here</a>)</span></td></tr>
</tbody></table>
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>Reason
wherefore this Cross in the Oval is not understood of the young
Learner.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">But
because experience doth teach, that the Learner can neither
understand nor conceive the ground and right use of this cross in the
Oval, and
by consequence the many variations of the same, and much less the
declinations, reclinations and inclinations of faces, although they do
spend several days and weeks, to imitate such and the like faces,
according to the draughts of their drawing-books; the reason is, (as
I believe) because the drawing is done <i>in plano</i>, and therefore this
strange changing of the cross they cannot understand. I therefore
have invented another way, thorow which (according to my judgement)
the most stupid and dullest Learner may be instructed to understand
and apprehend the same; and although this is but a small beginning
for the Learner, nevertheless it is a thing of great consequence and
importance; </span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>A
great fault.</i></span></span><br />
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">in
respect it is observed that many Masters commit errors in the same,
either thorow ignorance or neglect, not taking due observation of the
change of the cross of their faces, which fault in a Master is the
bigger, because it is the first A B C in a Learner. </span></span>
</div>
<span style="font-size: small;"><span style="font-family: inherit;"> </span></span>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-thVj1lscYL8/U12mtibnnVI/AAAAAAAAAwE/Sz8M8w2QNMQ/s1600/Illustration2+Goeree+Heidelberg.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-thVj1lscYL8/U12mtibnnVI/AAAAAAAAAwE/Sz8M8w2QNMQ/s1600/Illustration2+Goeree+Heidelberg.jpg" height="320" width="162" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="text-align: center;">
<span style="font-family: inherit; font-size: x-small;">German edition, 1678 </span><span style="font-family: inherit; font-size: x-small;"> </span><br />
<span style="font-family: inherit; font-size: x-small;">(digitized <a href="http://digi.ub.uni-heidelberg.de/diglit/goeree1678/0331" target="_blank">here</a>)</span></div>
</td></tr>
</tbody></table>
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>Means
to understand to draw with judgment all manner of faces.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">You
shall then (to gain this understanding) go to a Tourner, and cause
him to turn the form or shape of an egge, round, smooth and even, out
of a piece of wood fit for that purpose, like as the figure 1. doth
direct you; draw then a line from point to point longways, thorow the
midst of the same egge, as is to be seen in the figure 2. Divide
this line in two equal parts, and draw a line overthwart from the
left hand to the right, cutting the former line in that di<span style="font-size: x-small;"><span style="font-size: small;">vision</span> at(?)</span> right
Angles, as you may observe in the figure 3. This being done, you
have your desire now to bring this into practice, and to make the
learner to understand the changes and alterations of the cross, and
thorow the same to draw all manner of faces, as well those that turn
aside, as those that turn backwards or forwards; and to shew them
that this way (and no other way) it is done put then (as for the first
proof) this egge strait before him, like as you see the Figure 3. to
be; shew him therewith a few lines, the division of the face, each
particular Member drawn in his place in the line upon paper, as in
the Figure 4. and according to that Figure how to draw a face
fore-right; </span></span>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>A
Fore-right face.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">then
turn the Oval from the left hand to the right a little about, then
the streight Perpendicular of the cross shall change and stand bent
like a bowe or arch, as is to be seen in the Figure 5.</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>A 3/4 face.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">Shew
him there also the particular Members in his lines, as is to be seen
in the Figure 6. and make him observe how that the Nose doth project
beyond the round of the Oval; and like as in this Figure the same is
in the contrary turning, <i>viz.</i> from the right to the left, as
is to be observed in the figure 7</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>A
face looking downward</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">Again
turn the oval inclining downward, then the cross will appear as in
the figure 8. it appeared to shew him there a face looking downward,
as you may see in the Figure 9; </span></span>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>A
face looking upward.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">then
let the Oval be turned backward, then the lines of the Cross will
change again, as is to be seen in the Figure 10. and a face drawn
according to them lines, appear as in the figure 11. And after this
manner you may shew so many variety of faces as you please, with this
oval, </span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>A
side face.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;">(except those that come side-ward, </span></span>which
commonly are directed, or thought to be drawn by means of a
Perpendicular, as to be noted in the figure 12. upon which
Perpendicular, Forehead, Nose, Mouth and Chin, are drawn as you may
observe in the figure 13.) let them be of what manner soever.
Nevertheless, this is easie and less subject unto errors.</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>The
profit that comes by the manner of this instruction.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">This
then being well engrafted in the Learner, and being well understood
by him, he then in little time will begin to draw out of his own
invention, and fancy good fancies with good judgement and reason, and
give Master-like Master touches to the same; where otherwise, if they
draw only after a Print, Draught or Picture, they know not what they
do, neither know they what they have to observe in the same, but
learn just like unto Parrets, without any reason, and therefore
consequently know not how to draw any thing out of their own
invention; it is also observable before I go any further, to shew how
necessary then is good instruction, and therefore the learner ought
to chuse a good Master, as is able to give good instruction, and is
well-experienced in well-drawing and painting, </span></span>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Good
Masters not always good Teachers</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">for
it is not always certain, that good Masters are also always good
instructors or Teachers; but happy is that scholar that finds both
these qualities in a Master, nevertheless, teaching with judgement is
most necessary and profitable to the learner; the great Mastership
must come afterwards out of the Practitioners own industry and
natural inclination.</span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span>
<br />
<div style="text-align: center;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree01.html" target="_blank"><<Previous Chapter </a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree-inleydinge-english.html" target="_blank">Table of Contents</a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree3.html" target="_blank">Next Chapter>> </a></div>
</div>
</div>
Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0tag:blogger.com,1999:blog-6001526527421606435.post-25206371114962614512014-04-27T17:51:00.002-07:002014-05-05T15:04:20.860-07:00Goeree, Chapter III<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: center;">
<div style="text-align: right;">
<i><span style="font-size: large;"><span style="font-size: x-small;">transcribed by Lala Ragimov, original spelling kept</span> </span></i></div>
<br />
<i><span style="font-size: large;">An introduction to the general art of drawing</span>. </i> </div>
<div style="text-align: center;">
<br />
A 1674 English translation of<br />
a drawing treatise by Willem Goeree (1635-1711)</div>
<br />
<div style="text-align: center;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree2.html" target="_blank"><<Previous Chapter </a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree-inleydinge-english.html" target="_blank">Table of Contents</a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree4.html" target="">Next Chapter>></a><br />
<br />
______________________________________ </div>
<div style="text-align: center;">
<br />
<br />
<br />
<div style="text-align: left;">
</div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<span style="font-family: inherit;"><span style="font-size: small;">CHAP.
III.</span></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<span style="font-family: inherit;"><span style="font-size: small;"><i>Of
the Order and Manner to be Observed in the Art of Drawing.</i></span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: large;">I</span>N respect that in all things there is a manner and order, or at least
ought to be, so do we esteem (observing our Promise) it necessary to
go forward from step to step, therefore when the young Practitioner
is now well-grounded in drawing the Oval, and knows how he must draw a
face, and the several part thereunto belonging in the same Oval. </span></span>
</div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"><i>First
step. To draw after Draughts very profitable</i></span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;">Then
will <i>I</i> here shew him the first step of his exercise, <i>viz</i>. he must
exercise himself to draw with earnest desire and diligence after good
Draughts or Prints, which are duly observed, and judicially
compleated. And by drawing after draughts (I judge) to be most
profitable for those that intend to exercise Painting, but as for
those that intend Engraving or Etching, let them follow the best
Prints after the ablest Masters, which they intend to practice by:
therefore he that teacheth, shall at first shew the young
Practitioner the easiest and facilest ways according to his intended
Practice, whether for Painting, Engraving, or Etching, according to
the capacity of the Practitioner, and so go forward from that which
is easie to that which is harder, observing this Order as well in
drawing as in the draught which you give unto him to imitate and
follow, until at last put before him, observing that which (of the
properties belonging to drawing) we shall declare hereafter.</span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"><i>Second
step. To draw after Pictures. Requires greater judgement. For what
reason</i></span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"> The
second step of his Exercise is, to draw after pictures to bring them
out of a great into a small proportion, and by this oftentimes using,
they will learn and be accustomed to guess well, and beget a good and
sure hand in drawing. And as this is the second step of his
Exercise, so it is harder and requires greater judgement and
knowledge, for in a picture you finde neither a circumferent stroke,
neither manner of drawing, neither difference between light and
light. (which in the variety of colours lies hid) although clearly
and judicially shewn; and because the just and due shades of a
picture must be exprest by a mean of only one single thing,<i> viz.</i>
black or red oker, or the like, therefore sensible observations are
necessary in the situation, or that which in a picture comes forward
or goes backward, to observe the same also in your draught, all which
in his due place shall be spoken as thought fit.</span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"><i>The
third Step.</i></span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;">Now
to come to the third step, we must consider again to learn some new
thing, and therefore we commend unto you the Drawing after Rounds of
plaister, done by very good Masters; there be the Works <span lang="en-GB"><span style="font-style: normal;">of
</span></span></span><span style="font-size: small;"><span lang="en-GB"><i>Francisco</i></span></span><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">
which has made many fine children in plaister: </span></span></span></span>
</div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"><i>A
good Figure necessary to draw after.</i></span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">in
like manner the <i>Gladiator</i> of his a very neat and exquisite Figure,
the Rape of the </span></span></span><span style="font-size: small;"><span lang="en-GB"><i>Sabina</i></span></span><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">
of J </span></span></span><span style="font-size: small;"><span lang="en-GB"><i>de
Bolonge</i></span></span><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">,
the </span></span></span><span style="font-size: small;"><span lang="en-GB"><i>Laocoon</i></span></span><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">,
the </span></span></span><span style="font-size: small;"><span lang="en-GB"><i>Wrestlers</i></span></span><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">,
the </span></span></span><span style="font-size: small;"><span lang="en-GB"><i>Greek
Venus</i></span></span><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">,
the </span></span></span><span style="font-size: small;"><span lang="en-GB"><i>Hercules</i></span></span><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">,
the </span></span></span><span style="font-size: small;"><span lang="en-GB"><i>Hermes</i></span></span><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">,
the </span></span></span><span style="font-size: small;"><span lang="en-GB"><i>Anatomy</i></span></span><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">
of man of several and divers Actions, and several, as well antique as
modern faces: </span></span></span></span>
</div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"><i>Plaster
is one Introduction to the Life</i></span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"><i>The
reason</i></span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;">after
all the young Practitioner with very much profit may practice to
draw; and this exercise is therefore the more necessary, because it is
an Introduction to learn to draw after the life, as drawing after
pictures is harder then to draw after a draught, for the reasons
abovesaid. </span></span>
</div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"> In
like manner, is drawing after plaister harder then drawing after
pictures, because in plaister the certainty of the circumferent stroke
is not so apparent, neither the shadows nor lights in such a manner
apparent as they are in pictures, draughts or prints; the manner, and
what is to be observed in this exercise, shall be taught in another
place, when I shall speak or teach of every particular exercise by it
self.</span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"><i>The
fourth Step.</i></span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"> Now
coming to the fourth step, </span></span></span><span style="font-size: small;"><span lang="en-GB"><i>viz.</i></span></span><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">
the life it self of all natural things, the Compleatest, the best
Master for imitation and liberty, our only observation, for here is
all things to be found, of what is to be found, or ever was enquired
after, by brave and famous Masters, and therefore very necessary, (as
soon as Practitioner in some means understands the foregoing
exercises)</span></span></span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"><i>Perswasion
to much drawing.</i></span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">to
exercise to draw after the life it self, by the direction and
instruction of a good Master, with diligence and continual labour of
the young Practitioner, according to the old proverb, </span></span></span><span style="font-size: small;"><span lang="en-GB"><i>Dii
laberibus omnia vendunt</i></span></span><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">,
the gods for labour sell all things; or </span></span></span><span style="font-size: small;"><span lang="en-GB"><i>Gutta
cavet lapidem, non vi sit sape cadende</i></span></span><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">,
by continual or often dropping, (and not suddenly) is a stone made
hollow; therefore before we go to the instruction of the exercises in
particular, we recommend to the young Practitioner diligent and a
continual drawing, forasmuch as this is the way to attain to the
perfection therein, not imagining that as soon as they begin to have
only a glimpse of things, that they have enough, and so desist or
decline drawing any more, but forthwith take the Pencil in hand,
having a desire now more to painting, and not to drawing, which
seeming imaginations now adays many young Painters keep very much down
and backward in their practice, </span></span></span></span>
</div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"><i>Example
to others.</i></span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;">which
is lamentable and much deplorable, notwithstanding we have so many
famous Masters, which continually during their term of life, have
spent much of their time in drawing the last period of their lives
followed and visited their weekly Colledges and drawn their
Academical Figures. </span></span>
</div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"><i>Custom
in </i>Rome<i>.</i></span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;">It
was a Custom in <i>Rome</i>, and it is as yet observed and kept inviolated,
that youth was kept sixteen, eighteen, nay, twenty years to drawing
only, without suffering them to take either colour or pencil in their
hand, thorow which means they became so expert in the Art of Drawing,
that in a little time afterward,
all things appertaining unto Painting, they easily, well and
perfectly understood, and Master-like made demonstration thereof by
their own hand to the world; and therefore it is not to be admired,
that so many brave Masters are come forth out of the Schools of <i>Rome</i>,
and yet daily come. </span></span>
</div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"><i>This
should invite us to imitation.</i></span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span>
<br />
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;">Which
Examples also should be a spur unto us to a diligent and serious
imitation, That the Art of Drawing and Painting here in England may
flourish, as much as in any part beyond the Seas, nor have any
occasion to give Precedency or preeminence to any foreign Artist
whatsoever: which is short I had a desire to speak of, to the rousing
and stirring up of all Lovers of Art, and these also that has a
desire to practice in the same. Now I will proceed, and with
singular attendance observe what is remarkable to be observed in
every particular step by it self.</span></span><br />
<br />
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Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0tag:blogger.com,1999:blog-6001526527421606435.post-53840464611479500552014-04-27T17:51:00.001-07:002014-05-12T22:52:24.410-07:00Goeree, Chapter IV<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<div style="text-align: center;">
<div style="text-align: right;">
<span style="font-size: small;"><i>transcribed by Lala Ragimov, original spelling kept </i></span></div>
<br />
<i><span style="font-size: large;">An introduction to the general art of drawing</span>. </i> </div>
<div style="text-align: center;">
<br />
A 1674 English translation of<br />
a drawing treatise by Willem Goeree (1635-1711)</div>
<br />
<div style="text-align: center;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree3.html" target="_blank"><<Previous Chapter </a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree-inleydinge-english.html" target="_blank">Table of Contents</a><a href="http://lalaragimov.blogspot.com/2014/04/goeree.html" target="_blank"></a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree5.html" target="_blank">Next Chapter>></a></div>
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<div style="text-align: center;">
______________________________________________</div>
<br />
<br />
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">CHAP.
IV. <span style="font-size: x-small;">(the entire text below was in italics, LR)</span></span></span></div>
</div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<i><span style="font-size: small;"><span style="font-family: inherit;">Of
those things which in every degree of the Art of Drawing are
necessary to be observed.</span></span></i></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-style: normal;"><span style="font-size: large;">C</span>Oming
now to the Practick of the Art of Drawing it self: And first, of
Drawing after Draughts or Prints, I shall shew in the first place
what is to be observed in drawing after a Print, Draught or Picture;
and after I will speak of the manner of handling, and likewise of
those things which customarily are most in use in the Art of Drawing,
and of some particular Properties. What then </span>a<span style="font-style: normal;">ppertained
to Drawing after Prints, </span></span></span>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Drawing
after Draughts.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">of
that I will say nothing in particular, for that which is necessary in
drawing after a Draught is also necessary in drawing after a Picture;
and because not to make a Repetition of one thing twice; I will pass
it by here, and speak of it in its place, where I shall speak of
drawing after Pictures.</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Drawing
after a Picture.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>How
to place a picture.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Distance.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> Having
then a Picture to draw after, put the same in a Place of good light,
so that the flickering of the Glass of the Colours doth not hinder
you; and for to finde that place, place your self (if possible) so
that your eye together with the light of the day, runs to the
Picture. Make choice of a reasonable distance, according as the
Picture is big or small, at least so far of that with the opening of
your eyes you may behold the whole Picture at once, for the greater
your Picture is, the further off you must sit to draw after the same.</span></span><br />
<br />
<br />
<div style="text-align: left;">
<a href="http://4.bp.blogspot.com/-dwuPYZR0ffM/U16emnNQsBI/AAAAAAAAAwc/k_9SkZsQ6rE/s1600/goeree+missing+illustration.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-dwuPYZR0ffM/U16emnNQsBI/AAAAAAAAAwc/k_9SkZsQ6rE/s1600/goeree+missing+illustration.jpg" height="320" width="174" /></a><span style="font-size: x-small;"> This image is NOT included in the English translation or in the 1668 Goeree's book, but it appears in later editions, so I thought to post it (from a 1678 German edition digitized <a href="http://digi.ub.uni-heidelberg.de/diglit/goeree1678/0331" target="_blank">here</a>)</span> </div>
<div style="text-align: left;">
<span style="font-size: x-small;"></span><br />
<span style="font-size: x-small;">Summary translation:</span><br />
<span style="font-size: x-small;">A is the painting to be copied, </span><br />
<span style="font-size: x-small;">B is the place from where light comes, </span><br />
<span style="font-size: x-small;">D-C the place of the worst view (because of the reflection) </span></div>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<br />
<br />
<br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>Put
your Principal right before you.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">Here
it is to be noted, that when you draw after a Draught or Print, you
must put the same strait or right before, even as you do a Picture,
and you must not lay the same flat down before you, for then you
behold the things presently to foreshorten; in the same manner shall
your Paper (whereupon you draw) use five or six times double upon a
Pannel-board, keeping the
same in your lap, and with your knees elevate the same as high as
possible; thus shall the thing you draw stand before you upon one
end: and after this manner you shall observe the better whether your
draught be like unto the Principal, which otherwise (your Draught
lying flat before you) you should not see, by the reason aforesaid. </span></span>
</div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<i><span style="font-size: small;"><span style="font-family: inherit;">The
beginning of a Draught.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">This
being observed, guess for the first the middle of your Picture, or
that which you intend to draw, after having made your guess, shew the
same with the point of your coal upon your Paper; then observe your
biggest Figures (if there be more then one) touch the same with a
light hand in his proper place; and so all that is in the Picture,
then it will appear presently whether your guessing and your
scetching be true; </span></span>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>You
must assure your self of every stroke.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">adde
hereunto, that you assure your self of every stroke (which you are to
draw,) with good reason and observation, taking good heed upon the
great and general Parties, omitting the small breakings of Parties to
the next scetching or drawing, whereof I shall speak hereafter; and
so doing, shall you attain, not only readily, but also judicially,
and with pleasure to your purpose; but contrariwise, if you use your
self without observation, and as desperate, to begin your drawing,
without considering whereunto the same will tend or run, then shall
you, having made your draught, draw the same over and over again, and
again being drawn over to little or no purpose, be overwhelmed and
overcom with melancholy, and extinguish your genius or spirit, or at
least cause a great tediousness in the same, and like Ship-Masters
which without Compass go to Sea, not knowing where their
Landing-place shall be, desperately leave the Rudder, despair of a
safe landing, at last miserably perish in the sea; </span></span>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>With
patience your must overcome your passions.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">therefore
I desire that Learners will take diligent heed to their Passions, and
to their averse inclinations, for to overcome the same with Patience
and Magnanimity, to make a firm purpose, That on that which
(otherwise you made account to draw in two or three houres,) you
bestow a whole day or two, and so doing, you shall not only proceed
slowly and prudently, but you shall sooner then you thought, and
better then you should have done otherwise, with great affection and
speed finish: When you now rudely, yet with good judgement have made
your scetcz, overlook them with a great care whether your Schetz be
good, and whether the Actions of the Figure or figures contained in
your Principal; </span></span><span style="font-size: small;"><span style="font-family: inherit;">you
can observe also in your Schetz,</span></span>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>The
Actions must appear as first in your scetzing.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">for the Actions must shew themselves
in the first and the rudest Schetz very apparently, before you can
assure your self of any good , in regard that Actions are the life of
a Picture, and by consequence of your Drawing. Having this, begin
then to correct and amend your Schetz neater and neater, here taking
a little away, and adding there a little, for with a Charcoal this is
done very conveniently, for easily you may wipe away what is amiss,
and may therefore very well be called a good means, attending the Art
of Drawing; you shall also take heed, that when you draw over your
Schetz neater and neater, that you do not spoil or take away the
first good </span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>To
use care, thus in drawing a Schetz neater, that you lost not the
action. </i></span></span>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Confer
your draught with your principal.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">Actions
of your Schetz, which easily may happen, if you do not consider, (by
what bowings or turnings of the several Parts, those or other Actions
in a Figure or Figures come to represent themselves, or come again to
be worked and spoiled; then pin your Draught upon a Pannel-board fast
with a Pin or two; put the same down even with your picture or
Draught which you have imitated; set your self down again in your
former place, and behold your draught for a time with due
observation, comparing the same with your Principal,</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Faulss
(as soon as seen) to correct.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">and
you shall easily observe what in your Draught is drawn amiss; be not
tedious then, nor unwilling, but amend presently what you see amiss;
suffer not a fault to pass by without correction, for such a draught
would be a continual trouble of your patience, or by custom of
seeing, hinder you to see the faults committed, for reasons as shall
be shewn hereafter; take therefore rather Patience to perform all
things requisite in this, suffering no faults to escape, that in this
manner out of custom you may learn prudently and providently, with
much patience to finish your work. Further, it shall profit you
more, and a greater Progress you will make in the Art of Drawing,</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Better
is one good Draught, then 100 without observation</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">to
make one good Draught, then a hundred without observation; you must
strive with more pleasure to draw, then to have drawn, that is,
rather to desire to be doing then to have done. </span></span>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>You
must sometimes behold your work with a fresh eye.</i></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>How
it comes to pass that we better discern faults.</i></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>Reason
wherefore.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">It
is also not impertinent sometimes for one hour or two to lay by his
drawing, and to recreate himself in somewhat else, whether it be in
reading, or looking upon some good Prints, which doth stir up the
spirit for to go on again in his drawing, and to behold the same with
eyes unfatigable, and it shall oftentimes come to pass, that you
shall espie many faults in your work, which before you could not
possibly observe? the reason is that as then we behold our work as
if it were another bodies work never by us seen before, and then our
eyes easily espies some fault or other, which we take up presently,
<i>ex contrario</i>, because we behold our work from the beginning;
thereof comes a Custom to the eyes to behold the things of such
former shape which hinders that the faults are not easily perceived
by our understanding.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><i>Example.</i></span></span> </span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> The
truth of this you may easily conceive by daily experience, for
example, if we see a new fashion of cloathing, which we conceive to
be not fashionable, or not becoming, and which many times is contrary
to reason it self, then can we presently espie the faults, and
disprove what we dislike in the same, but when this fashion begets a
custom, so that for a long season we have had this fashion before our
eyes, then we, in stead of an exception, take a love to it, and covet
for the same, so that the same thing which before we found great
fault withal in beholding it with our eye, now with great pleasure as
a brave and a fine thing begin to behold the same. Therefore
assoon as you shall espie a fault in your Drawing, amend the same
presently, and tarry not, until a custom (as is said before) come to
your eyes.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">This
rule you shall observe in all manner of Drawing, be it after Prints,
Draughts, Pictures or Plaister-figures, yea, after the life it self,
where conveniency and place will allow and permit the same; this then
being well observed, then you shall proceed to a sure and judicial
circumferent stroke, to shading and finishing of which, (when we come
to speak of finishing) I shall shew divers ways and manners.</span></span><br />
<br />
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Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0tag:blogger.com,1999:blog-6001526527421606435.post-65533683590851446972014-04-27T17:51:00.000-07:002014-05-05T22:44:27.725-07:00Goeree, Chapter V<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: center;">
<div style="text-align: right;">
<i><span style="font-size: large;"><span style="font-size: small;">transcribed by Lala Ragimov, original spelling kept</span> </span></i></div>
<br />
<i><span style="font-size: large;">An introduction to the general art of drawing</span>. </i> </div>
<div style="text-align: center;">
<br />
A 1674 English translation of<br />
a drawing treatise by Willem Goeree (1635-1711)</div>
<br />
<div style="text-align: center;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree4.html" target="_blank"><<Previous Chapter </a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree-inleydinge-english.html" target="_blank">Table of Contents</a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree6.html" target="_blank">Next Chapter>></a> </div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
________________________________________________</div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<br />
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">CHAP.
V.</span></span></div>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Of
the things which in the third Step, </i><span style="font-style: normal;">viz.</span><i>
in Drawing after Plaister-Rounds, or Embossed Works, are necessary to
be observed</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: large;">W</span>Hat
profit or benefit is gotten in Drawing after Plaister, or any round
embossed Figure, I have spoken of before in short; Now I shall speak
of some properties belonging to the same.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<i><span style="font-size: small;"><span style="font-family: inherit;">To
chuse a good light to draw after Plaister-Rounds.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> For
the first you shall chuse a good place, and principally a good light,
for in the manner of the light is a great matter, in regard that here
you must seek for to obtain the most pleasant shades, therefore the
Room shall be big, having an high light, which is not to scattering
or flying away too much, coming of a Place Northward, very profitable
to shew the least Parts in a Figure very pleasantly; </span></span>
</div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<i><span style="font-size: small;"><span style="font-family: inherit;">Means
how to amend the light.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">But
if the Room receives its light from the South then will it be
necessary to put a frame, covered with oiled paper in your windows,
and by this means you will make a constant even light in your
Chamber; </span></span>
</div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<i><span style="font-size: small;"><span style="font-family: inherit;">At
what height you shall chuse your light.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">and
the height of your light must be such, that the shade (which your
Figure makes upon the ground) be equal, or a little less then the
height of your figure you have set to draw after.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<i><span style="font-size: small;"><span style="font-family: inherit;">Night-light.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> You
also may conveniently draw in the Evening, by Candle-light, which
many do commend more then to draw by Day-light, because the shades
then appear more flat and even, and for this purpose is commonly used
a lamp well-provided with oil, and divers wicks; this Lamp is hung up
at a convenient height, and because that the light may not spread it
self</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<i><span style="font-size: small;"><span style="font-family: inherit;">How
to use the same.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">too
much, but remain constant, and with more force diffuse her light,
(and spread the same upon your Figure) it is customary to put oiled
paper, (through which the light cannot shine) behinde it. Note also,
that here no Candle is to be used, because that as the Candle burns
lower and lower, so also the shades will vary, which is not in the
use of a lamp to be feared. But in regard it is observed,</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Night-light
giveth hard shades.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Remedy</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">that
the Drawing by night is subject to bring forth hard and sharp
shadows, by which means many make hard and Copper-like shining
heightenings and reflexions; for prevention then, you shall set a
frame strained over with fine oiled Paper betwixt the Model and the
light, then the shades will be soft and sweet: Nevertheless, the
day-light is to be commended before this, and therefore use the best,
because in the day-light there appeareth a simple evenness, and a
natural reflexion, you shall also set a white or grey paper behinde
the Model, that you may perceive any reflexion the better, and to
observe and distinguish the outcircumferent stroke in the shadows the
better. </span></span>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>What
distance to use in sitting.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">Then
make use of a convenient distance, not too light for all; and set
your self down commonly from the Model (you intend to draw after)
three times as far as the Model is high, and that in such manner,
that your eyes as in a streight line may behold the Model;</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>To
observe how the parties the one under the other do appear.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">take
then a Plum-line, and look by the same, what parts of your Model
appears unto you in that, or by that streight line of your
Plumb-line, and in what manner the one under the other comes to
appear, begin then to scetch your figure, observing all what has been
spoken before of drawing after Prints and Draughts. Now the further
finishing I shall shew you in the Continuation, fundamentally, and as
plainly as possible.</span></span><br />
<br />
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Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0tag:blogger.com,1999:blog-6001526527421606435.post-83897441735487785822014-04-27T17:50:00.003-07:002014-05-05T16:43:02.668-07:00Goeree, Chapter VI<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<div style="text-align: center;">
<div style="text-align: right;">
<i><span style="font-size: large;"><span style="font-size: x-small;">transcribed by Lala Ragimov, original spelling kept</span> </span></i></div>
<br />
<i><span style="font-size: large;">An introduction to the general art of drawing</span>. </i> </div>
<div style="text-align: center;">
<br />
A 1674 English translation of<br />
a drawing treatise by Willem Goeree (1635-1711)</div>
<br />
<div style="text-align: center;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree5.html" target="_blank"><<Previous Chapter </a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree-inleydinge-english.html" target="_blank">Table of Contents</a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree7.html" target="">Next Chapter>></a><br />
<br />
________________________________________ </div>
<br />
<br />
<br />
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">CHAP.
VI</span></span></div>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Of
the Anatomie, or Knowledge of the inward and outward forme of the
Humane body, concerning Muscles and Motions of the Arteries.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>To
know Anatomy necessary.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Profitable</i><span style="font-style: normal;">.</span></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: large;">N</span>OW
in Order we should come to the life, but we do hold it first
necessary to speak somewhat concerning the Anatomy of a man, in
regard that knowing this is most necessary, especially to them that
will draw after the life. For this Art informeth us to understand
all the Muscles according to the motion and working of the body.
When he that draweth hath the fundamental knowledge of the forms and
nature of the Muscles and tendons, then shall he sooner apprehend the
course and motion of the member, and it will shew it self in the first
Aspect of the naked body, although sometimes they appear somewhat
doubtful, how they close one into another, and which Muscle,
(thorough the putting back of a tendon) come to swell, or to fall
flat; </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>Abuse.</i> </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;">but on the contrary, those that mean simply, and without the
fundamental to understand the same, know nothing, but in all manner
of Actions do represent one<span style="font-style: normal;"> and
the same Muscle or Muscles, after one manner and in one sort, yea,
many are so stupid, that they represent (in one action of the body)
all the Muscles of the whole body, for to shew (forsooth) that they
understand the same, and think not that thorow the motion some
Muscles draw themselves inward, when othersome swell and extend
themselves, forcibly outward, and for to shew here the nature, shape
form and change of the Muslces, would require very well an whole
book; </span></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>Means
to exercise themselves herein.</i></span></span><br />
<br />
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Anatomy
in Plaister</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Divers
Books of Anatomy.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>From
the Books go to the life.</i></span></span></div>
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-style: normal;">we only will give some general rules, leaving the Practitioner
to finde out the rest, using thereunto the best means, <i>viz</i>. to be
frequent and often drawing after the Anatomy of mankind; there are
divers of that sort cast in plaister, learning after them simply to
know the forme and shape for the Muscles; there be also some Books
made of the Anatomy, and among the rest there is one made by that
understanding and well-experienced Picture-drawer, </span><i>Jacob
Vander Gracht </i><span style="font-style: normal;">with
Draughts and names of the Muscles, serving all Picture-drawers,
Stone-Cutters and Chyrurgiens, (because of the motions of a mans
body, and also then searching to finde in the life it self, what
thorow the aforesaid means you were taught observing the alterations
and changes the rising and falling of the Muscles, and the complete
working of the Members, Arteries and Muscles, which in seeing of the
life will inform your judgements wonderfully, the Book in a little
time you may expect to be published in our </span><i>English</i><span style="font-style: normal;">
Tongue.</span></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Not
to make all Muscles.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Wherefore.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>In
what part you must observe your Muscles most.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Wherefore</i></span></span></div>
<span style="font-size: small;"><span style="font-family: inherit;"> For
to say yet something more for instruction, which in general is
needful to be observed, it is to be noted, that in drawing after a
naked body, all Muscles from the greatest to the smallest are not so
plainly to be expressed, because your Figures my not appear like
Anatomy-Figures, which is not graceful to the eye, and likewise
easily admits correction; but that side, whose Member or Members that
are most significant in Performing any action, must more or less be
muscled, according to the force in that action of that Member or
Members; and in so doing shall the Figure express his actions the
better, forasmuch as you shall see, wherein the force of the action
doth consist. Young persons must not be muscled so strong or hard,
because such signifie a full grown mans in their full vigour and
strength, whereunto youth because of their tender years have not yet
attained.</span></span><br />
<br />
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Fat
bodies have small Muscles.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Fair
bodies must not be muscled hard.</i></span></span></div>
<span style="font-size: small;"><span style="font-family: inherit;"><i>Wherefore.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> A
fat man commonly is not gross of Muscles, but small, because their
skin covereth much soft flesh, which is not in muscleous and lean
bodies. You shall also not represent a body (which is of a noble,
delicate and a chosen beauty, and of a mean height) with too much
swelling muscles, because men of such statures have never </span></span><span style="font-size: small;"><span style="font-family: inherit;">have
never much flesh upon their bones, and where there is not much flesh
there also is no great swellings of muscles perceived.</span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"> In
Women you shall scarce express any muscles, for they appear in the
life either not at all, or very little, except it be through some
action, causing a particular force, and then you shall represent them
but faintly and doubtful, that the evenness of the circumferent
stroke of the members, and the smoothness which is in and upon womens
bodies in a singular manner, be not spoiled or corrupted. In like
manner you shall do with little male children, <i>viz</i>. to express their
muscles with judgement according to the motion of the members, but
faintly and doubtful, and in the female children less according to
that in the women.</span></span> </span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Of
Muscles, many changes.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>In
what parts the most changes are incident.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> Further,
in muscles there are many changes according to the motion of the
body, as well in the swelling of them as in falling flat like in
lifting up or falling down of the Arm, the muscles of the breast
express themselves more elevated or depressed: the Hips are of the
like working if they turn outward, or inward; and there comes more
alterations in the Shoulders, in the Side, and about the Neck, then
in any other members of the whole Body, because in the motion of them
the most alterations come to appeare. Now the muscles, that make the
principal alterations (by elevation or depression) of the whole body,
be those that are behind the Hips. Secondly, those which the
buttocks do make. Thirdly, those of <i>spina dorsi.</i> Fourthly,
those of the Throat. Fifthly, those of the shoulders. Sixthly,
those of the breast, beginning at the nipple, and ending in the small
of the belly, all which alterations may be observed in the life, unto
which I do refer the Practitioner, and pass over to the manner and
observation, which is needful in imitation of the life.</span></span><br />
<br />
<br />
<div style="text-align: center;">
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Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0tag:blogger.com,1999:blog-6001526527421606435.post-86068889236059484202014-04-27T17:50:00.002-07:002014-05-13T21:29:49.342-07:00Goeree, Chapter VII<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<div style="text-align: center;">
<div style="text-align: right;">
<i><span style="font-size: large;"><span style="font-size: small;">transcribed by Lala Ragimov, original spelling kept</span> </span></i></div>
<br />
<i><span style="font-size: large;">An introduction to the general art of drawing</span>. </i> </div>
<div style="text-align: center;">
<br />
A 1674 English translation of<br />
a drawing treatise by Willem Goeree (1635-1711)</div>
<br />
<div style="text-align: center;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree6.html" target="_blank"><<Previous Chapter </a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree-inleydinge-english.html" target="_blank">Table of Contents</a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree8.html" target="">Next Chapter>></a><br />
<br />
_________________________________________ </div>
<br />
<br />
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">CHAP.
VII.</span></span></div>
</div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<i><span style="font-size: small;"><span style="font-family: inherit;">Of
those things, which in drawing after the life, are necessarie to be
observed and understood.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<i><span style="font-size: small;"><span style="font-family: inherit;">The
natural Life reacheth all things.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: large;">B</span>Ecause
it is known that Nature and Life are sufficiently compleated in all
things, and to imitate the least thing in it, requires a hand of the
best Master, let this then spurr us on, also for to go to the life
itself, being this above all is most necessarie to this purpose, set
your time, and chuse a convenient place and a good Master, or for
want of him be acquainted with some other Young man, that is pretty
well entered in his Art, and agree to spend two days, or at least one
day in a week to draw after the life, either under the oversight of a
good Master</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<i><span style="font-size: small;"><span style="font-family: inherit;">To
chuse a College.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">or
in a Colledge of eight or ten young men, among which some at least
are experienced to draw after the life. That may put you in the way,
if you are out, and in the Colledge you shall evade the inspection of
one to be anothers
work, neither shall you spend your time vainly to dispraise another
mans work, but you shall quietly and modestly stir up one another,
and by good example precede the rest of your companions, in diligent
observation and care, taking heed what you are about,</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>To
what purpose.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">shew
also one another his faults, (according to the knowledge you have,)
with all gentleness and humanitie to amendment of anothers judgement.
</span></span>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Place,
light.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Model
of what shape.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">Having
then made choice of a Colledge suitable to your desire, and agreeing
with your business, then sit your self with unanimous consent, with a
convenient place, and in it such a light as we have prescribed unto
you in drawing after Plaister; further, make choice of a good and
well-shap't man, which is to stand for you, get a man of a rustick
body, broad of shoulders, of a fair breast, very well muscled, thick
thighs, long legs, and of length reasonable for all, not too short,
nor too thick, nor of a blunt head, and such a man in general is held
to be a very good naked figure.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> You
must also study a good manner to set your Model in a good action, and
this you shall do by turns, and let him whose turn it is to set the
Model, schitch upon paper aforehand his imaginations, not to spend
too much time in vain about setting of the Model, except it be an
action premeditated, or that which comes after the invention of some
eminent Master, either in print, draught or picture, which after
sight we have retained in our memory, yet in all this you shall use
your libertie, and follow your desire.</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Place,
light.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> You
must put your Model in a place of a convenient light, as is said of
plaster-Rounds in winter time or cold weather you must use a stove at
the charge of the Company, to keep your Model and your selves in a
temperate heat.</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Divers
manners to set the Model in action.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> The
actions that you will set your Model in, are commonly performed on
the ground, but for to make or set particular actions, either
sitting, lying, or actions of Devotions a table of convenient height
is necessary, for upon the same the hanging down of the one or other
member of the model, can be shewn artificially and Pleasant.</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>In
all actions Members must make a Compact together. </i></span></span>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>What
Principally is to be observed in the good actions.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> Observe
also that in chusing your actions in your Model, the members make (as
it were,) one compact, the one with the other, and this shall you do
after this manner</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> First,
observe well that the head turn it self not to the sides of the
breast, but elswhere, and in case it <span style="font-size: x-small;">(the breast, LR)</span> be turned to the right shoulder,
then turn the head somewhat to the left side; and if the breast doth
extend it self outward to the left, let the head turn to the right
side, and the parts of the right shoulder must be higher then the
parts of the left, and if the head looked upward then it must not
lean further backward, but that the eyes may be seen; and in turning
the head about, it must turn no further, but that the chin may just
reach the shoulder; the shoulder which carries the burthen must always
be the highest; and where the shoulder is lowest there the Hip must
give out; put that Arm forward where the leg comes behind, </span></span>
</div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<i><span style="font-size: small;"><span style="font-family: inherit;">Examples
of four footed beasts.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">and
where the leg comes forward there put the Arm backward, which then
you may also observe in all four-footed beasts, and this in generall
is the common good position of a figure, to make the members
cross-ways to accord together, in turning of a figure forward,
backward, or aside, you must counterpoize the same by the weight of
some other Members,</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<i><span style="font-size: small;"><span style="font-family: inherit;">The
good Position Of a figure.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">and
keep it in his ballance, and in this knowledge is a great Matter, and
cannot be attained without diligence; now the principal thing to be
observed in setting or placing of a figure well, is that you place
the head well upon the shoulders, and the breast well upon the Hips,
and the Hips well upon the Feet, </span></span>
</div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<i><span style="font-size: small;"><span style="font-family: inherit;">Out
of the tending of the Members to see what doth the figure.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">and
that the actions of the figure with all his Members be such, that a
body may easily judge, where they will most express themselves, and
this in short is that which principally I had to say concerning the
good posture of a figure.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<i><span style="font-size: small;"><span style="font-family: inherit;">The
manner how to sit to draw. </span></span></i><br />
<i><span style="font-size: small;"><span style="font-family: inherit;">You shall not look too much, or imitate
anothers Draught.</span></span></i><br />
<i><span style="font-size: small;"><span style="font-family: inherit;">Unskilful
Drawers may place themselves with them that are experienced.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">Take
convenient place to sit in, of a reasonable distance, if the place
will admit it (as I have taught in drawing after Plaister) some chuse
to sit upon the ground, and some upon a stool, every one according to
his liking, and according to his desire, to behold the figure, you
shall not look too much into anothers draught, as if you would
imitate the same, and leave the life; yet I should not reprehend, if
he that is unskilful in drawing after the life, should place himself
next unto a well-experienced draughts-man to see and observe his
manner in drawing after the life, and be resolved by him now and then
in his doubtings, that by this means he may come on the faster to be
a draughts-man.</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>For
what reason.</i></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>What
is to be observed commonly.</i></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>The
Model shall not stand too long in his action.</i></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>Wherefore</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">You
shal take good heed in scetching of a figure, how each part doth
agree with the whole. Secondly, upon the proportion. Thirdly, upon
the action of a figure, and further, as we have taught herefore,
having in some manner scetcht your figure, stay a while, that your
Model may not be made too weary, and lose his action, or change it
into another, and then after a little rest begin again, and further
your draught, and bring it to a conclusion, of which we intend to
give a general rule presently: </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><i>Observation.</i></span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><i> </i></span></span> </span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">only this we will touch with a word,
that when you have circumscribed your whole Figure with all possible
diligence, that then you chuse a part (of which you are most
desirous, and upon which you will employ most of your study) for to
perfect the same, by reason you have set that with the rest in a good
shape: otherwise, you shall not easily, either in particular, or in
the whole, finish and compleat the Members, because time many times
will not suffer to draw a whole figure, except they be such that are
sure and well expert in their drawings.<i> </i></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>To
learn to draw compleatly</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">It
shall also be more profit unto you to draw half a figure, or a
quarter part thereof naturally and compleat, then a whole Figure that
is in the whole imperfect; yet you shal strive to do the same by
degrees, more bold, certain and sure, which must be obtained this and
no other way. Here also we might observe how to draw after the life
by Night-light, but this being spoken of where we taught to draw
after stature of Plaister, or any other round bodies, we thought it
here a needless repetition, but refer the Practitioner thither. My
counsel also is, that a Practitioner should some time, as his
convenience will best admit, </span></span>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>To
draw Landskips</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">go
in the Countrey and draw some Landskips after the life, that so he
may have an universal knowledge, and become a general Master,
understanding the draught of all things.</span></span><br />
<br />
<br />
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Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0tag:blogger.com,1999:blog-6001526527421606435.post-50700614013658438102014-04-27T17:50:00.001-07:002014-05-10T17:41:43.163-07:00Goeree, Chapter VIII<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<div style="text-align: center;">
<div style="text-align: right;">
<i><span style="font-size: large;"><span style="font-size: small;">transcribed by Lala Ragimov, original spelling kept</span> </span></i></div>
<br />
<i><span style="font-size: large;">An introduction to the general art of drawing</span>. </i> </div>
<div style="text-align: center;">
<br />
A 1674 English translation of<br />
a drawing treatise by Willem Goeree (1635-1711)</div>
<br />
<div style="text-align: center;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree7.html" target="_blank"><<Previous Chapter </a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree-inleydinge-english.html" target="_blank">Table of Contents</a><a href="http://lalaragimov.blogspot.com/2014/04/goeree.html" target="_blank"></a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree9.html" target="">Next Chapter>></a><br />
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_______________________________________________<br />
<br /></div>
<div style="text-align: center;">
</div>
<br />
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">CHAP.
VIII.</span></span></div>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Of
the several sorts of Chalks and Crions for the Use of Drawing, and
upon what they are to be used.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Charcoal.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Black
lead good for to scetch withal, principally for Masters, that are
sure in their drawing.</i></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>Red
chalk.</i></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>Black
chalk.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Faults</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: large;">I</span>T
is commonly customary, that Beginners begin first to draw with
Charcoal, being very commodious, not only to young Practitioners, but
even to good masters themselves, which in drawing are very perfect
and experienced by reason that whatsoever is drawn therewith, and is
not according to our minde and purpose, may easily be wip't out, and
drawn over again. Practitioners use also black lead, therewith to
scitch their Figures, and work the same out afterward with Crion, and
other things usual to drawing; nevertheless, this is more fit for
Masters then Practitioners, and therefore more necessary to get first
the use of Charcoal well, before they attempt the use of black chalk.
The other sort wherewith you must perfect your draughts are several,
and every one makes choice of that which pleases him most. Some use
red chalk, and in like manner black chalk is very commodious; but it
is difficult to get that which is good, commonly it has two faults,
which are tedious to Practitioners; the one fault is, that it is
short, weak and brittle; the other that it is hard and stonie; yea,
that which is somthing good comes often to be so hard; thorough the
heat of the hand, that it becomes useless, some put it in a cellar,
others lay it in the ground with salt, that it might remain soft; in
buying buy that which has some yellow spots upon it like brimstone,
and which doth taste saltish and sourtish, and is smooth in cutting.
Others draw with the Pencil, which is called washing
and is done with several saps, <i>viz</i>. Ink, Sut of wood-smoke,
Ground-Indico, East-India Ink, Ground red chalk, and such like, which
are all good in washing of Draughts, especially for them that know
how to use them. </span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">Others
draw with wet Chalk Pencils for sureties sake, others with writing
Pens, which I do not so well approve of, except it be that such who
draw with a writing-Pen have an intention to become Engravers upon
Copper; but for them that desire to become painters or
Picture-drawers, I count it time idle spent; And although the same
has bin in use with a great many great Masters, you shall know that
such Masters did use the same for to represent their Figures readily
and boldly, and with great and bold scetchings, using also in stead
of the writing-Pen, a Pen made out of a Reed, such as here with us we
use to cover houses withal. This Reed-Pen is also useful to draw
Landskips withal, and has a singular loosness, especially for them
that knows how to use them Master-like, with good dexterity; -- </span></span><br />
<br />
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Use.</i></span></span></div>
<span style="font-size: small;"><span style="font-family: inherit;">commonly they use them with sut and water, and also with common Ink,
or East-India Ink, as is to be noted in draughts of old Masters, of<i>
Bandio Baccianello, Titian</i>, and others of that time. --- </span></span><br />
<br />
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Charcoal
dipt in Linseed-oyl.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>One
or two houres.</i></span></span></div>
<span style="font-size: small;"><span style="font-family: inherit;"> </span></span><span style="font-size: small;"><span style="font-family: inherit;">Beside
all these, some use also the Charcoal dipt in Linseed-oyl, but must
be used quickly and readily, and therefore fit for great things, but
for small and curious things unfit and unprofitable; And these
charcoal Pencils most commonly are laid one houre or two in
Linseed-oyl (before they use them,) and after they are taken out of
the oyl they must be well wip't, and so use them presently; note
also, that they must be somthing long, for they wear away presently,
and become quickly useless. </span></span><br />
<br />
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Tobaccho---Pipe-clay.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>White
Chalk.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Coloured
Crions </i></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>how to make them.</i></span></span></div>
<span style="font-size: small;"><span style="font-family: inherit;">They use also a second sort in drawing for to heighten withal, if they draw upon coloured Paper; and this is
made of Tobaccho-pipe clay, which being soft is rolled to the length
of a finger; and being dried, either of themselves, or in the Sun,
are fit for use; and for stronger heightning you may use white Chalk,
and it is necessary to give here and there a stronger heightning; You
also may use this Tobaccho-pipe-clay, to make all sorts of Crions of
it. Thus take tobaccho-pipe-clay, and with a little water temper in
the same what colour you please, according to the height you think
fit, and as much as you think the clay may bear, and work it well
together, and make Pastils of it, and let them dry as aforesaid, then
they will be fit for to shew here and there the colours, either in
scetches, draughts, or whole Ordinances; Others do this with old
size, gums, and such like; but those often prove too hard and not
useful: and this may serve as concerning the diversities, wherewithal
the Practitioner may exercise himself with in his drawings, without
prescribing any more otherwise, for making or using of stuffs to draw
withal. </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><i>Whereupon
to draw.</i></span></span></span></span><br />
<br />
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>White
Paper.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Coloured
paper.</i></span></span></div>
<span style="font-size: small;"><span style="font-family: inherit;">Now only I will say something whereupon to draw with those
several sorts above specified, and conclude this chapter. To draw
upon white paper is the most usual, commodious, and common way or </span></span>manner;
though some use Parchment, Table-books, and other things; but we
will remain by the white paper; upon white paper you may scetch,
wash, and draw with all sorts of water-colour; you may dozel upon the
same dry colours with a little cotton upon a quill; but in regard to
the white Crion cannot be used upon white paper, therefore papers of
several colours are made, as gray paper, yellow, red, rose-coloured
paper, blew paper, or what they may please your fancie best: these
several colours, and other- what pleases you best, you may grind with
water, adding thereunto a little size, and with a sponge dipt in it,
give the white paper what colour you please, and being dry draw upon
it, and upon this coloured paper the white Pastils have great power
in drawing, especially to them that know how with judgement to apply
them; of which hereafter we intend to instruct you further.</div>
<span style="font-size: small;"><span style="font-family: inherit;"></span></span><br />
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<br />
<br />
<div style="text-align: center;">
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Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0tag:blogger.com,1999:blog-6001526527421606435.post-71444800155387835012014-04-27T17:50:00.000-07:002014-05-13T21:28:25.538-07:00Goeree, Chapter IX<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<div style="text-align: center;">
<div style="text-align: right;">
<i><span style="font-size: large;"><span style="font-size: small;">transcribed by Lala Ragimov, original spelling kept</span> </span></i></div>
<br />
<i><span style="font-size: large;">An introduction to the general art of drawing</span>. </i> </div>
<div style="text-align: center;">
<br />
A 1674 English translation of<br />
a drawing treatise by Willem Goeree (1635-1711)</div>
<br />
<div style="text-align: center;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree8.html" target="_blank"><<Previous Chapter </a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree-inleydinge-english.html" target="_blank">Table of Contents</a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree10.html" target="">Next Chapter>></a><br />
<br />
___________________________________________<br />
<br /></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<br />
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">CHAP.
IX.</span></span></div>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Of
the Use and Manner of Drawing.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Learners
are counselled to follow their Principal.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: large;">I</span>T
is expedient, that Learners in drawing after Draughts should follow
the manner and humour of their Principal, that in so doing they may
beget a manner in drawing, which may stick and remain with them all
their lifetime; and therefore in short we do intend to speak
something that may tend to that end and purpose.-- </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><i>Manner
how to do.</i></span></span> </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;">Be it then that
you hatch with the Pen, then take good heed you avoid scratching, and
tender lean hatches, but rather endeavor to make your hatches
somthing broad, and yet likewise must you fetch them from above
downward, that is, from the fine or sharp to the broad; some flat and
equal shades must be drawn with hatches equal in all parts, whether
they be sharp and lean, or broad and full; </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>How
to hold your drawing Pen.</i></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;">there is also a manner in
holding the Pen, which is useful for you here, and also in all manner
of drawings, <i>viz</i>. That you must accustom your self from your
Infancie, to hold your Pen or Pastils somwhat long, and in holding to
hold the same somewhat forward out, in such a manner, that the hinder
part of your pastil in your hand come low by the ground, and not
straight up, as is customary to hold the writing Pen, which is not
Master-like, but a childish manner; a Master-like Practitioner holds
his pastils streight forward, whereby he hath this benefit, That the
Crion pastils become not so soon blunt; wherefore you must accustome
your selves to turn the same in your hand drawing; and in so doing
your pastils will wear, and remain to a point continually, so that
you may draw a whole draught without scraping your pastil -----</span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><i>Rouseling.</i></span></span> </span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">Rouseling
also is a good manner, and is not much different from hatching, only
that it is close one in the other, without strokes or hatches must be
doesled; and when after this manner you begin to shadow your draught; then you must begin to do it first
faintly, smooth and even, and streight against the edges of the
lights, in such sort, that it may appear as if it had bin washed with
a Pencil; then you shade your draught, here and there doesling in the
darkest shades further out, as in its place will be taught you; </span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><i>Rouseling
alone not very graceful.</i></span></span></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><i><span style="font-size: small;"><span style="font-family: inherit;"><i>Hatching
and doseling a good manner.</i></span></span> </i></span></span> </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;">but
in regard, a draught don after this manner doth not appear very
graceful, or Master-like, you shall return your draught here and
there, with hatchings, and where any touches more are required, put
in the same quick and nimble, and in so doing you will finde that
this scetching will add a great grace unto your doesling, and you (in
often working this way of doesling and hatching, the one upon the
other) will beget a Master-like manner in drawing. Note also, that
this sort of doseling is done with red or black Chalk, touching with
the point thereof your draught easily all over, faintly, smooth and
even, without touching the same, with cotton or rags put up in quils
or such like.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Doesling.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Common
mishap.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> There
is also another manner of doesling, which is performed by cottons put
in a quill, wherewith the shades are smutched or hatched, may be
smoothed or doesled the one into the other; yet forasmuch as this
manner of work is not so commendable, and much Master-like, I will
not speak in the praise of it, but speak of somthing that I do
dislike in the same, <i>viz</i>. doesling makes your Workmanship hard,
stiff, and a breaking of the flat parts, except it should be in som
small and curious things;</span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><i>Remedie.</i></span></span> </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;">but if you please to bring any
pleasantness, sweetness, or meltings in your draught, accustom your
selves to smooth your Draught here and there (where occasion serves)
a little with the top of your finger. For the custom of great
Masters has bin to use but one thing in their hands at once, thorow
which means also they have compleated their draught, without using
cotton or such like: yet if any one would make something curious and
neat, it would not be amiss to use the manner of doseling; but I
would not have the Practitioner to accustom himself altogether
thereunto.</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><i>Manner
how to smooth som heightenings.</i></span></span> </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;">If any one draws Counterfeits principally upon coloured
paper, the edges of the heightnings are smoothed a little, not with
cotton or such like, but with the like coloured paper rouled up unto
a sharp point at one end: and this way you may conveniently smooth,
and make sweet any edges, that it may appear not too hard or sharp.</span></span></div>
</div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><i>Washing.</i></span></span></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><i>Use. </i></span></span> </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"> Yet
there is a singular, fair, and profitable manner, called Washing,
performed with a Pencil dipt in ink, or any other sap, and so
penciled or carried on upon all sorts of wet <span style="font-size: x-small;">(white, LR)</span> or coloured paper, and
sufficient of it self to finish a whole ordinance. Secondly, you may
wash therewith in any draught the principal flat shades, and
afterward you may work over the same with the Pen or black Chalk
loosely, which is a good and Master-like manner, and presents
exceeding well.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">In
washing you shall observe this, That your proper and right known
shadows are laid in at first weak, faint, smooth and even, without
smoothing the same at the edges, except it be by a second stroke
performed by a Pencil wetted a little with your tongue; for if you
use much smoothing, you shall spoil your light Part, and your flat
edges of your shades will appear ill-favoured. This now being dry,
where you perceive that a darker shade must be, go that shade over,
observing that you use your ink a little darker then the first was;
or if you should use your ink of the same temperature <span style="font-size: x-small;">(dilution, LR)</span> with the
former, that would do well enough, in regard that the first shade
being dry, the second shade also the same temperature will set off
sufficient; but if not, you may make your second shade darker,
observing always not to make your work too hard at first, after this
you may set some browner and harder touches without smoothing,
feeling they differ not too much from the rest in darkness.--- The
faint shades and things doubtful must be presented as faintly as can
be possible; and principally upon coloured paper where the heightning
helps you; you must also observe, that you go not too often over your
shade with your moist Pencil; for to go over too often your shade
will make your work too hard and ill-favoured.</span></span><br />
<br />
<br />
<div style="text-align: center;">
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Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0tag:blogger.com,1999:blog-6001526527421606435.post-22250327026506749602014-04-27T17:49:00.003-07:002014-05-14T20:27:36.437-07:00Goeree, Chapter X<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<div style="text-align: center;">
<div style="text-align: right;">
<i><span style="font-size: large;"><span style="font-size: small;">transcribed by Lala Ragimov, original spelling kept</span> </span></i></div>
<br />
<i><span style="font-size: large;">An introduction to the general art of drawing</span>. </i> </div>
<div style="text-align: center;">
A 1674 English translation of<br />
a drawing treatise by Willem Goeree (1635-1711)</div>
<br />
<div style="text-align: center;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree9.html" target="_blank"><<Previous Chapter </a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree.html" target="_blank">Table of Contents</a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree11-15.html" target="">Next Chapter>></a><br />
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<div style="text-align: center;">
</div>
<br />
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">CHAP.
X.</span></span></div>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Of
the General and his Parts, and how they must be understood and
observed.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>What
Parts and Generals are.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Use</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>How
to see them.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>For
what reason.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: large;">N</span>OW
I come to speak of some particular properties, which in Art of
Drawing are necessary to be understood. The First then is general,
the other particular, the knowledge of which (is very necessary)
youth should be very well endued withal, for there a great light will
arise in our understanding.-- All things composed together consist in
certain parts, which together carry a correspondence: they have the
one with the other made a general mass or lump, and by our sight, are
(either in general or particular) distinguisht; if therefore you draw
either after print, drrught, picture, or the life, you must observe
the general forms which is presented unto you, and consisted of
several parts, <i>viz.</i> whether it be a round, square, triangular, long
or short forme; and this is best observable with an half-pinking eye,
without observing the parts as may be contained in the general,
without observing almost what the general mass it self cometh to
siginfie, <i>viz</i>. whether it be a Head, Arm, Leg or Foot, but only
observing the circumferent stroke of the whole lump or mass; for
without this circumferent stroke nothing can be what must or ought to
be, for the general makes manifest all the particulars, and this may
be proved by this example: </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><i>Example.</i></span></span> </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;">Suppose a Head be compleatly finished, the circumferent stroke it has doth signifie the general mass; the eyes,
nose, mouth, chin, ears, are the particulars contained in the general
mass of the head; now is the question whereby it may be known,
whether thorow the parts in particular, or thorow all the parts in
the cirucumferent stroke, in their proper places contained, whereof
the circumferent stroke presents the whole lump or mass in general.
To this the example shall answer for me, which <i>Apelles </i>standing
before the King, and having something to say to the King, concerning
a man whom he would have the King to know, took a coal in his hand
and scetcht therewith upon the wall the shape and form of the man
(which he had retained in memory) in such a manner, that the King out
of this general draught, could see and know what man <i>Apelles</i>
intended to signifie unto him. And to demonstrate this yet more
clearer, suppose there be two faces drawn with somthing that may at
pleasure be wiped away, which are very like each other, wipe the
circumferent stroke of the one face clean away, so that nothing
remain but the small parties, <i>viz</i>. eyes, nose, mouth, &c. and you
will finde presently that the likeness of the face is much diminished
and worn away; the same may also be proved another way, <i>viz</i>. make
another circumferent stroke about the parts aforesaid, differing from
the former, and you shall behold another likeness in your face, much
differing from that it had before; so that it is certain, that the
parts observed in themselves, do not represent themselves in their
being, before they are joyned to their general out-stroke; of which
much more might be said, which for brevity-sake is omitted. --- </span></span><br />
<br />
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Distinction.</i></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>Parts
also have a generality in themselvs, altho' they are Part to the
general.</i></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>Example.</i></span></span></div>
<span style="font-size: small;"><span style="font-family: inherit;">The
general is also distinguisht, <i>viz</i>. in the generality of the parts,
that is, general parts, containing in themselves other, but smaller
general parts; example there is, the arm, legs, hands and feet, which
in respect of the whole body are but parts; but in respect of
themselvs they also may be observed as great general parts,
containing some parts subject under them, as they are contained in
the whole body; Example, the Arm hath his muscles, the bending of the
elbow, and such like; the hands have their fingers, and fingers again
their members, and so forward, in the same manner as we heretofore
have said of the head. </span></span><br />
<br />
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Likeness
of things dwelleth most in the general.</i></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>Example.</i> </span></span></div>
<span style="font-size: small;"><span style="font-family: inherit;">And as the knowledge of things dwelleth most
in the generality of the great parts; in the same manner also is the
knowledge of the things hidden in the generality of all, which may be
demonstrated after this manner; let a man (whom we know very well) be
at some reasonable distance from us, so that we cannot know him by
some small parts, as by his brown or gray eyes, neither his great or
small nose, nor by his red or pale face, nor by some other small
parts that might belong to the whole body; notwithstanding we shall
know, this man after to be that which indeed he is; </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-family: inherit;"><i>2
Example.</i></span></span> </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;">yea, let it be
duskish in the evening, so that we only may distinguish betwixt a man
and an horse, and some of your acquaintance should chance to meet
with you, it will happen many a time that you shall begin to know
him, although distance and darkness do hinder to observe him, either
by his face or the<span style="font-style: normal;"> colour of his clothes, or by any other small parts. </span><i>Quest.</i><span style="font-style: normal;">
By what means comes this to pass? </span><i>Answ.</i><span style="font-style: normal;">
By means of the general, for the general lump being seen by you, and
the form and shape of that lump being represented (by means of the
eyes) to our senses, we presently apprehend him to be what he is;</span></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-style: normal;"><span style="font-size: small;"><span style="font-family: inherit;"><i>Contrapositio.</i></span></span></span></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-style: normal;">so
far distant, and so dark, a great mist will not only take away the
parts from our sight, but the general lump also, for there is scarce
a Rule that hath not his exceptions.</span></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
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Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0tag:blogger.com,1999:blog-6001526527421606435.post-76527020173008718432014-04-27T17:49:00.002-07:002014-05-14T20:26:35.187-07:00Goeree, Chapters XI, XII, XIII, XIV<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<div style="text-align: center;">
<div style="text-align: right;">
<i><span style="font-size: large;"><span style="font-size: small;">transcribed by Lala Ragimov, original spelling kept</span> </span></i></div>
<br />
<br />
<i><span style="font-size: large;">An introduction to the general art of drawing</span>. </i> </div>
<div style="text-align: center;">
<br />
<br />
A 1674 English translation of<br />
a drawing treatise by Willem Goeree (1635-1711)</div>
<br />
<br />
<div style="text-align: center;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree10.html" target="_blank"><<Previous Chapter </a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree-inleydinge-english.html" target="_blank">Table of Contents</a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree16.html" target="">Next Chapter>></a><br />
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<br />
<br />
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">CHAP.
XI.</span></span></div>
</div>
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>What
light and shadows be, and how thorow the same all things come to have
their being.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: large;">I</span>T
would be in vain to make a further progress in our Instruction,
unless we understand first the nature and virtue of lights and
shades, for there are no things in nature which can be distinguisht
by us in a lesser or a further distance from us, much less can be
expressed by the Art of drawing without this knowledge, for without
dark and light nothing can be made like, or to resemble unto, or
after that, which it ought to resemble, so that by consequence the
lights and shades gives a being and representation unto all things;
and to prove this, draw a counterfeit upon white paper with black
Chalk, laying aside all sorts of Colours or Crions, then you and
others shall judge that the Counterfeit is well drawn, and the
likeness good. (I speak of one that is fit and well-experienced in
such things.)--- Here is asked, what correspondence hath black chalk
wherewith you made your shades, and the white paper, thorow which is
represented the light of your counterfeit, which have lively colours,
and being of that same, after whom you took your draught, that such a
lively picture so like should be made; this likeness is not caused
thorow the circumference or out-stroke; it is not the black chalk,
nor the white paper, neither any single strokes drawn; </span></span><br />
<br />
<br />
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Lights
and shades can express all things.</i></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>Prove.</i></span></span></div>
<span style="font-size: small;"><span style="font-family: inherit;">but it is only
the lights and shades properly set in their places, with such a just
and equal ballance as can be imaginable, and the life it self; (after
which we have taken our draught) doth represent unto us, for it is
impossible, that either a round circle, or a round spot of flat
colour should represent a Globe, except the roundness and likeness of
the same should be given him, by shadowing and heightening; also
thorow the circumferent or circular stroke, the generality of the
Globe might be discerned, as may be apprehended out of the foregoing
chapter, but without observing the roundness of the same on every
side. --- </span></span><br />
<div style="line-height: 115%; margin-bottom: 0.14in;">
<br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><i>General
shadow.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Shadows
upon shadows.</i> </span></span></div>
<span style="font-size: small;"><span style="font-family: inherit;">It is also to be observed, that in the shadowing, a
generality is to be observed, thorow which means many things may be
seen divers ways, as in great even shadows, in the which many times
more or less darknesses are hid principally, if you behold them close
by, but standing at some distance, then the same changes in a general
Mass, or a flat even shadow, upon which (in your drawings, and in
observing the shadowed parts) you must take provident and direct
care, that in your drawings the general darkness of your shades be
not spoiled, by some meaner or lesser interwoven darknesses, making
them either too hard or too soft, and so also must you do concerning
light.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">_________________________________________________________________</span></span></div>
<br />
<br />
<br /></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">CHAP.
XII.</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Of
the Plain, smooth, sharp, and sweet drawing.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Learners
abhorre plain drawing.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: large;">H</span>Aving
said sufficient of the lights and shadows, and their virtue: it
seemeth necessary also to say something of the plain, smooth, sharp
and sweet drawing, for in respect that Learners are most of that
temper and condition, to have (in the beginning of their drawings)
and abhorring of plain and smooth drawing and so use and habit
themselves to draw hard and stiff; which to avoid, let them with
great patience and indefatigable labor, strive to get the best manner
of drawing; and although in the beginning they do not please us, it
matters little, for none is born a Master; and he can never be
expected to do well that never did do ill; we learn from day to day,
we amend from day to day, and all is for to become a compleat and
well-experienced Drawer, which consisted in that, that a Drawer at
once draws plain, smooth and sharp, and yet finishes all sweet, so
that the shadows and lights seem to melt the one into the other, all
which we hope to demonstrate clearly unto you.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">Plain
drawing then, is to lay all the shades plain and even, whether it
be by hatching or smutching, after such a sort that the edges round
about keep within the pale of their drawings, and that it may clearly
appear that for a circumscribed figure such a shadow have, and have
sides roundabout not to vanish away in one unpaled fuzziness, or
blurr; in which the sharpness and the edgings of their form cannot be
seen; and to obtain this, you shall observe not to make your shades
at first too hard. Secondly; that you do not put one shadow upon the
other too dark, neither too strong, but always a little differing the
one with the other, then you shall at once have plain, soft and
smooth drawing; but putting your shades too dark or hard one upon the
other, than your work presently will become hard and stiff. -- Plain
drawing and sweet drawing is subject to both.-- By drawing too sweet
you make your draught too fuzzy; and by drawing hard and sharp you
make your draught too stiff; but to choose out of two evils, it will
be better to draw plain, and that which is somwhat stiff, then to
draw smooth and soft, the which is a childish manner of drawing, and
brings him to fuzziness; for stiffness thorow the means already shewn
you will easily overcom if you take diligent heed thereunto,
likewise have a care whether you smutch, rousel, dosle or wash not to
pass one thing too often for by that means you com many a time to
lose your plain and even drawing, and what is here said of
the shades, the same must also be observed of the light and strong
heightenings.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">___________________________________________________________________</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;">CHAP.
XIII.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<i><span style="font-size: small;"><span style="font-family: inherit;">Of
the Heightenings.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: large;">T</span>HE
Heightenings are those parts in a draught, where the highest parts
thereof are represented to be, and whereupon the day doth give his
utmost light; which if we draw upon white paper, then for the
uttermost light is left the white paper, for a higher light then that
is not to be had, and for the lesser light it must be a little
faintly shadowed, and the rest work out proportionably; as it is
becoming; but upon coloured paper, white crion, and
Tobaccho-pipe-clay are used for the first and second heightnings,
putting each in his due and proper places, according to more or less
light required, which operation hath a singular and great power in
this manner of drawing, wherefore it is necessary that good heed
should be taken there in, -- in the operation then of that , you
shall take heed that you heighten not in too many places. Secondly,
that you do not heighten any thing more than is fitting. thirdly,
you shall not heighten too near the dark or shadows, neither too near
any out-line or circumferent stroke, except it be accidental to make
some reflection, otherwise they shew hard and stiff. Fourthly, that
you make your heights not sharp and flat, and in places that admits
of much heightning, put the greatest light in the middle, and the
lesser toward the edges, for to beget the better rounding. Fifthly,
take care for to leave conveninent faints of the ground of your
paper, between your heightnings and shades, which will give a great
lustre to your heightnings and shadows, and will cause a singular
plainness and evenness, as I will yet make appear in another place.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;">____________________________________________________________________</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;">CHAP.
XIV.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<i><span style="font-size: small;"><span style="font-family: inherit;">Of
the Reflection.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<i><span style="font-size: small;"><span style="font-family: inherit;">Reflections
wheron they fall most.</span></span></i><br />
<i><span style="font-size: small;"><span style="font-family: inherit;"></span></span></i><br />
<i><span style="font-size: small;"><span style="font-family: inherit;">Reflection
by what occasioned.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: large;">S</span>Ometimes
(according to the condition of the work) appear some lights in the
shadows upon the edges of round bodies, and principally upon such
bodies, which are made smooth, evenner and most glassie, or
glittering, as silver and gold or other bright metals, as is that
same from whence that light is occasioned, and this is called
<i>Reflection</i>. It is commonly occasioned out of this, <i>viz</i>. That if the
upper plain be struck with any light, then doth it reflect upon the
next shadowed body, which is opposite unto it,</span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Use
not too much of reflection.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Wherefore.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Not
to make reflection without cause.</i></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">and
although this gives a Ornament to a Draught yet shall you be
circumspect no to use too much of it, for it causes a glittering like
brass or copper: be it then, that whether you draw after Plaister, or
after the life, always take head to that, that the reason of your
actings always may be found therein; that is, that the caus of more
or less reflection, or no reflection at all, compleatly may be seen
and discerned.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">_____________________________________________________________________</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;">CHAP.
XV.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<i><span style="font-size: small;"><span style="font-family: inherit;">Of
the Observation of Perspective of light and dark.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<i><span style="font-size: small;"><span style="font-family: inherit;">Necessitie
of observation.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: large;">T</span>HAT
which in a draught or picture, is most needful to the observation of
Perspective of dark and light, (causing a draught or picture to be
like in all things unto the compleat nature it self) and this being
wanting, then such a draught or picture is held irrational and dead:
there then we will declare what it is, and how it must be gained:
this observation then, (that I may express the sense and meaning and
working of the same) is that which causes all things contained in a
draught or picture, to com forward or sink backward, and cause all
things from the first to the last to stand in their due and proper
places; and the vacuitie or emptiness (between body and body) to go
from you, or to come to you forward, naturally to the eye, as if it
was accessible by feet, and for this cause it is called Perspective
observation: </span></span><br />
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<br />
<i><span style="font-size: small;"><span style="font-family: inherit;">Similitude.</span></span></i><span style="font-size: small;"><span style="font-family: inherit;"> </span></span></div>
<span style="font-size: small;"><span style="font-family: inherit;">and like as one in Perspective doth observe the distance
which every Colume hath, the one after the other, and also the
standing of every Colume in his proper and singular place; even so
(in a draught or picture, throw the diminution of dark and light)
must be observed the distance agreeable to the appropriated
declination, and place of everything be it then that you draw after a
draught, Plaister-figure, the life or picture, </span></span><br />
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<br />
<i><span style="font-size: small;"><span style="font-family: inherit;">What
you shuld take heed of in your observation</span></span></i><span style="font-size: small;"><span style="font-family: inherit;">. </span></span></div>
<span style="font-size: small;"><span style="font-family: inherit;">you must then (for to
beget a good observation) take care what appeareth forward, and what
backward, or how one thing followeth the other. Secondly, you must
observe by what means they appear forward, or go backward; whether it
comes to pass throw dark or light, and thorow what degree of more or
less dark or light it comes forward or backward, </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"><i><span style="font-size: small;"><span style="font-family: inherit;">Dark
comes forward as well as light.</span></span></i></span></span><span style="font-size: small;"><span style="font-family: inherit;"> </span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">for the dark can as
well (as the light) according to proportion (it is strong or weak)
com forward as go backward; so that in this as one of the
difficultest studies belonging to the Art of Drawing and Painting,
good heed is to be taken with all care and diligence. And although
this instruction in writing in Practitioner cannot very well be
taught, I will nevertheless put forward this lection in a word to the
Learner, for to show a mean in general to a good observation. In
drawing, then take good heed hereunto, that in your diminution of
dark and light, you make such a distinction, as is betwixt
your lesser light and your coloured paper, upon which commonly you
draw with white Crion; thus shall you gain a good observation in your
drawings and paintings of going backward, and coming forward.</span></span><br />
<br />
<br />
<br />
<br />
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Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0tag:blogger.com,1999:blog-6001526527421606435.post-88368288802288150072014-04-27T17:49:00.000-07:002014-05-11T14:00:06.516-07:00Goeree, Chapter XVI<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<div style="text-align: center;">
<div style="text-align: right;">
<i><span style="font-size: large;"><span style="font-size: x-small;">transcribed by Lala Ragimov, original spelling kept</span> </span></i></div>
<br />
<i><span style="font-size: large;">An introduction to the general art of drawing</span>. </i> </div>
<div style="text-align: center;">
<br />
A 1674 English translation of<br />
a drawing treatise by Willem Goeree (1635-1711)</div>
<br />
<div style="text-align: center;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree11-15.html" target="_blank"><<Previous Chapter </a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree-inleydinge-english.html" target="_blank">Table of Contents</a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree17.html" target="">Next Chapter>></a><br />
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____________________________________________ </div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<br />
<br />
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">CHAP.
XVI.</span></span></div>
</div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<i><span style="font-size: small;"><span style="font-family: inherit;">Of
the Circumferent or out-stroke, and his looseness and a good
Position, as also of keeping of their Parts.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: large;">B</span>Ecause
we have now made a description of the principal properties belonging
to this art; and necessarie to be known and understood, it is
requisit now (for to make a compleat and perfect work) thorow a short
instruction to show, how the same work must be perfected and
compleated, in exercising the art of drawing: for as much as this
order in drawing is the best, and fittest,<i> viz</i>. first to understand
drawing in its self, and then to begin, and so doing and learning
finish, and compleat the same. I have also bin willing in my
discription and teaching to observe and follow the same.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><em>Scetch.</em></span></span><br />
<em></em><br />
<span style="font-size: small;"><span style="font-family: inherit;"> First,
then I will begin of the schetch, thorow which you must make first
your rude draught (following what manner of drawing you please) being
of a good spirit, aiery and judgement; and after this, with good
observation (following the Rules prescribed herefore in that behalf)
to correct and amend your first and rude draught, in the drawing of
it over again, accustoming or using your self always to represent the
shadows and touches in your draught with a coal, by reason, that you
might be certain of a good Position in your draught. --</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><em>Circumferent stroak.</em></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"> Having
this, then you shall begin to draw your out-stroke, or your
circumferent stroak, taking very great heed, care and diligence to
observe and keep the handsomness, beauty, comeliness and Gentility of
the out stroke, taking also the same care and diligence to observe
and keep his parts; for it happens very often, that the great parts,
thorow several small bendings, are utterly spoiled, which fault
seemeth to be natural in all youth, observing those small bendings so
much, (which always they make greater and bigger then they ought to
be) so that by consequence the greater part of his general (which
nevertheless must represent the thing, and should have dominion over
the lesser parts,) comes to lose very much, by reason whereof it
happens, that in such a figure or figures, no great or stately
Present can be found, which fault may be removed, if Learners would
observe the general parts, and not to observe the lesser parts so
much, before the general parts are perfectly drawn in their due and
proper places, (we speak here of naked and clothed figures, and of
other like things) the other bendings of the smaller parts, can
afterwards with more convenience be put in, and thus they shall
prevent that great and enormous fault of bending or chopping </span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">their
parts in too deep, as I have seen too too often the draughts of young
Practitioners to have been abused, to the shame of their Instructors,
which many times and often do not understand the same, or not desire
to take the pain for to instruct the infancie therein; the truth of
this appears in Nature it self, <i>viz</i>. that in too curious or near
observation of the lesser things, the beauty of the general parts is
oftentimes lost, or at least diminished; for it happens often, that a
man at some distance from us, his visage shall appear more beautiful
and pleasant to us, because we behold his face in general at some
distance; but placing him so near, that we may behold the lesser
things in his face, <i>viz</i>. pockholes, pushes, spots, and the like,
then our eye comes to lose the general beauty which dwelleth upon
that face, observing the smaller things, <i>viz</i>. pockholes, pushes, &c.
which also have their seat there at a nearer distance, and such a one
busies himself so much about the defective parts, that such a face
seemeth not so handsom unto us as it did before; therefore it is to
be noted, that all things seen at a convenient distance do present
their being best of all, caused thorow the condensed Air that doth
intervene; upon which in another occasion I shall further enlarge my
self.--- </span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<em>Strokes on the side of the light to make sweet.</em><br />
<i><span style="font-size: small;"><span style="font-family: inherit;">Draughts must be drawn without circumferent strokes, </span></span></i><br />
<i><span style="font-size: small;"><span style="font-family: inherit;">The life is without strokes.</span></span></i><br />
<i><span style="font-size: small;"><span style="font-family: inherit;">Example.</span></span></i><br />
<span style="font-size: small;"><span style="font-family: inherit;"></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">If it be so, that you draw with red or black chalk, have
special care that your strokes be not too hard or too sharp,
principally in the light; but in the shadowed part you may make them
stronger and broader, always observing, that in shadowing your
strokes do thus lose and vanish away, that no strokes may remain
more, so that a body might judg your draught to have been drawn
without a circumferent stroke: for in the natural life no stroke can
be seen, but only one cind, or one impaled desisting of bredth and
length of corporal things, passing all sides, or seem to touch each
other; this you may observe in a picture clearly, where the uttermost
parts of all things do agree with the color which is in the midst of
its field; so that the termination of this or that colour doth
represent the circumference without drawing of a stroke about it.</span></span><br />
<br />
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<i><span style="font-size: small;"><span style="font-family: inherit;">Strokes you must not draw till necessitated.</span></span></i><br />
<i><span style="font-size: small;"><span style="font-family: inherit;">Small things are drawn without strokes, and appear as if they were.</span></span></i></div>
</div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> And
although it often hapneth, that in drawing betwixt white and white,
and against the light, a stroke must be drawn, for to shew the
draught of the one or the other, especially upon white paper, yet
shall you not do the same before necessity compelleth you thereunto,
and there is no other way for to do it, and this you shall do with as
much dexterity of hand as possible.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">One
may in many things (especially in little) present against the light
without drawing of a stroke, which nevertheless shall shew so
compleat as if a circumferent stroke was drawn about it; and because
I cannot speak of all causes incident herein, I will pass it over,
putting before your eyes one example for all, giving leave to the
Practitioner to order the rest, according as the spirit of the
Practitioner, the condition of the Work, and his Judgement shall give
him leave.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;"><a href="http://3.bp.blogspot.com/-64GiFZBPoAE/U1yra6ru7tI/AAAAAAAAAvo/7ve9pNafTGI/s1600/goeree+german+illustration+1678+uni+heidelberg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-64GiFZBPoAE/U1yra6ru7tI/AAAAAAAAAvo/7ve9pNafTGI/s1600/goeree+german+illustration+1678+uni+heidelberg.jpg" height="236" width="320" /></a></span></span></div>
<br />
<div style="text-align: center;">
from a German edition from 1678, digitised <a href="http://digi.ub.uni-heidelberg.de/diglit/goeree1678/0331" target="_blank">here</a></div>
<div style="text-align: center;">
In the 1674 English translation this illustration is in reverse </div>
</div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">You
see then, that the face drawn with A before, is circumscribed with a
compleat line or stroke; and the face B doth only represent the
shadow that are underneath the Nose and Mouth; Now the question is,
whether there be an error committed in the face B, which in the face A
thorow the out-stroke might be amended? I supposed not; but
contrariwise in the face B is observed a singular and handsom
curiositie, where white against white makes a termination, without a
circumferent or out-stroke betwixt them.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">The
meaning of this Example being once well understood, you will accustom
your self to profit there by from day to day, and the beforementioned
looseness and dexterity know and understand with better judgement to
make use of in your drawings hereafter, and shall beget a singular
good manner in drawing, not knowing from whence it cometh unto you.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">That
which is said, you must not understand of all manner of drawing, for
a rude Scetch only consisteth in circumferent lines or out-strokes;
nevertheless the dexterousness therein gives it a singular benefit;
by consequence you may apprehend how you may work upon coloured
paper, forasmuch as there is small difference, only that thorow
heightenings you may do much and save many strokes, which cannot be
done upon white paper; therefore in this manner of drawing you shall
more take heed then in any other, to draw strokes in the light,
especially while this may be supplied by heightning; and this is in
short what we have to observe concerning the freeness and dexterity
of the out-stroke.</span></span><br />
<br />
<div style="text-align: center;">
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Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0tag:blogger.com,1999:blog-6001526527421606435.post-73230157509613074312014-04-27T17:48:00.002-07:002014-05-13T21:16:35.790-07:00Goeree, Chapter XVII, Addition<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<div style="text-align: center;">
<div style="text-align: right;">
<span style="font-size: small;"><i>transcribed by Lala Ragimov, original spelling kept </i></span></div>
<br />
<i><span style="font-size: large;">An introduction to the general art of drawing</span>. </i> </div>
<div style="text-align: center;">
<br />
A 1674 English translation of<br />
a drawing treatise by Willem Goeree (1635-1711)</div>
<br />
<div style="text-align: center;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree16.html" target="_blank"><<Previous Chapter </a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree-inleydinge-english.html" target="_blank">Table of Contents</a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree-inleydinge-english.html">Next Chapter>></a><br />
<br />
______________________________________ </div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<br />
<br />
<br />
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">CHAP.
XVII.</span></span></div>
</div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<i><span style="font-size: small;"><span style="font-family: inherit;">Of
the Finishing of a Draught.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: large;">N</span>OW
in finishing of your Draught, it is necessary, that those things
which you see, you do not childishly or Ape-like, imitate man after
man: but that </span></span><span style="font-size: small;"><span style="font-family: inherit;">you do curiously observe what the Master of your Principal (whether
it be Draught or Picture) doth intend withal what he hath expressed
in his work; what meaning hath this stroke or that shade, and by what
means he cometh to represent that, and for what reason: In like
manner, you shall observe in the life it self by what means it cometh
to pass that anything seen by us, seemeth to be that, which we see it
to appear; Example, if you draw a face, either after the life,
draught or picture, observe and take good notice to what symptoms,
signes, strokes, shades or otherwise, such a face comes to be
sorrowful or merry, crying or laughing, old or young, wilde or
modest, foul or clean, homely or beautiful; </span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Profit of this observation.</i></span></span><br />
<i></i><br />
<span style="font-size: small;"><span style="font-family: inherit;">that observing the same
you may not follow only the same strokes, touches and shadows as near
as possible, and so express the same actions and passions thereof,
but that also you may retain the same in your memory, and learn to
understand the same with a well-grounded knowledge; These Workings of
Nature thorow the like strokes and shades to express out of your
head, when occasion at other times shall require it upon the like
occasion.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> When
you do begin to finish your draught, in finishing your shades you
shall principally observe, that at first you make not your shadows
too hard nor too dark, as they must be, neither as you can get the
same, but somwhat less, by reason that afterward (if necessity
required) you may make the same harder and darker; for it may happen
that afterward you must make it somwhat harder; for to gain a good
observation in appearing backward or forward; and in case your first
shade of less darkness, should it have made so dark as possibly you
could make it, and that the same in respect of the light or day,
distance and observation much should differ, you would finde your
self much in a Labyrinth, or deceived, and finde that you could not
attain to the compleat finishing thereof: for be it that you draw,
with what stuff you please, there can be but one extreme dark or
light, and therefore you shall accustom your self even from the
beginning to draw, and shadow very light sweeter, faint and even; and
in that dimness; to bring in the Perspective of darkness as much as
possible. thus you seldom shall finde your self deceived, but you
shall gain honor, and be able to finish your draught handsomly.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> Have
also a care to keep your draught in one even and equal condition, so
that one do not surmount above the other, and your draught do not
appear to be full of dark and light spots, but the dark must agree in
evenness with the lesser dark, and the lesser dark with the faint,
and the faint with the strongest light, or otherwise you decline
presently to hardness and stiffness, which in the life you will never
meet withal.</span></span><br />
<br />
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<i><span style="font-size: small;"><span style="font-family: inherit;">Heightenings never to make so high as the highest wont.</span></span></i></div>
</div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> In
the like manner you shall hold your self upon your coloured paper
with the heightnings, make the same never so light, principally where
much heightening is required, that you should needs to make the same
lighter, of which also divers ways and manners are to be observed,
some do as<span style="font-size: x-small;">(?)</span> to lay the heightnings before they have a final<span style="font-size: x-small;">(firm?)</span>
and sound<span style="font-size: x-small;">(?)</span></span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">circumferent
stroke, <i>viz. </i>the general lights which questionless must make
the highest lights, and then begin by degrees to shadow the same; and
so beget for the first a general in their drawings, which afterward
thorow heightning and shadowing compleatly finish.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> Others
do shade their draughts, and completely finish the same, and
afterward put in their heightnings here and there, where occasion
doth require it, both manner of wayes are good, especially for him
that knows all things therein to distinguish; therefore I intend to
give you some Caveats, which being well observed, it will be of small
matter that is done first or last, the one or the other.</span></span><br />
<br />
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Observation</i></span></span></div>
</div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> First
then, if you draw upon coloured paper, after a Print or Draught,
observe onely the even likeness of dark and light by a manner of
drawing to imitate, keeping at all times the great parts of light and
shadows, and the small intermixt parts in the same manner, that the
greater parts may always have rule and dominion over the lesser,
imitating that, which with judgment of each property hereof is
declared. </span></span><br />
<br />
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>In Pictures dark and light difficult to distinguish.</i></span></span></div>
<div style="line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><i>Wherefore.</i></span></span>
</div>
</div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> But
coming to Pictures, there be many and dangerous Rocks, and false
lights, which may deceive you, because that thorow the diversity of
colours, a distinction not so well can be made, between the light,
and the lesser light, and by consequence neither of the shades,
therefore observe thus.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> Observe
first of all the highest light of the whole Piece, in like manner the
deepest shades, and make no heightning or light which you see only
alone, but always observe the strongest and highest and upon all
other lights, which come in under the consideration of lights,
although it do differ in more or less light.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> Observe
also always, when any peculiar lights come to appear in your eye, to
enquire the reason thereof, by what means it comes to appear so
light, whether it be not because that it findes it self environed
about with darkness: for thorow the same you may often be deceived,
supposing the same to be so light as you would make a heightning of
it; but observing the same more curiously, and having also a
reflection to the general and principal light, you will find many a
time, that scarce you might leave the height, which your colourd
paper has of it self; you may a time would be forced to pass over the
same with some small or ayerie shade; such force gives the darkness,
if any light stands in the midst thereof.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"> In
the like manner, if any darkness doth stand in the middle of the
light, it will appear more dark then indeed it is; wherefore in
drawing you must compare light against light, and dark against dark
continually; thus (as by a certain Rule) you shall finde the power
and strength of every light and shade, and become an evenness,
generality and observation in all your Drawings; To speak more upon
this subject I count it not necessary forasmuch as I have spoken
sufficient of each property in particular; Hoping therefore, that
this short Instruction will be profitable to all such, that are
desirous to be studious in this most famous and
Noble art of Drawing, and spur them forward to go on in learning,
with all alacrity, diligence and speed, forasmuch as I have given
them so plain, naked, sound and judicial instruction, as in short as I could possibly use the same to your most profit: Be diligent, and
farewell.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">**************************************************</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<i><span style="font-size: small;"><span style="font-family: inherit;">An Addition.</span></span></i></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">Some
that use the Art of Drawing, it haply may seem strange to, as soon as
they have perused my short Introduction; that I have set down nothing
touching the Proportion, Measures, Species and Formes of mens bodies,
for to search into the same by one order, and a certain rule of
measuring, and to understand the same. To which I answer, that I
have passed by the same, with a good and well-grounded Premeditation,
<i>viz</i>. That I may represent the same in another work compleat with
more splendor and glory, so much as may be necessary to be understood
in the Art of Drawing. More then this, I apprehend that this study
of Proportion, (if any one will be too curious in the search thereof)
is a great devourer and spender of time, by reason that God the
Creator of all things hath created Nature so compleat, that the just
Propotion thereof we can learn by our selves as oft, as we prove
embossed Figures by the Touch-stone of Life it self; who knows not
how easie it be to see whether any one be deformed, or have a body
with good and formed members? but if any body should judge, that it
should be necessary to say somthing concerning it, let him remember,
that others with great pain and labour has writ sufficient concerning
it, <i>viz</i>. <i> ALBERTUS DURER</i>, which has made an whole Book in folio
concerning it, and <i>PETER COUSIN</i> in like manner; And out of both of
them has <i>Crispin Van de Pass</i> taken some Figures, and measures them
out after the Order of the Five Columes, as an Addition to his Book
for the Art of Drawing; nevertheless, the profit that all those
things have brought unto the young Practitioners, has been so little,
that I never could hear any thing of it; but what needeth here
contradiction, it is observable enough that when you will proportion
a Figure according to the Measures and Divisions of a Pillar, or
building like as a Carpenter doth in the Architecture with a pair for
Compasses: that, as then such
Figures, in stead of loose and living motions (thorow the bendings in
and out unto which some members are subject) shew and represent
nothing but woody and stiff Hedg-stakes, agreeing excellent well to
the Last upon which they are made.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;">Notwithstanding,
I would not have this understood, that this knowledge in itself
should be unprofitable; but we hold the contrary, that it is good,
pleasant and necessary, if it be so that we have the right use of it;
(for otherwise you may easily lose the well-becoming and pleasing
beauty of the life, and over-look your self in all occasions, thorow
manual and active Mensuration. Forasmuch as the use of this
knowledge ought to have his exercise and practice in the
understanding, and a requisit good judgment of the Master of the
Work, which at another time I shall propound more clearer unto you
and conclude with the words of that famous Picture-drawer and
Sculptor <i>Michel Angelo buonarotti;</i> who said, A Picture-drawer
in his Drawings must keep the Compasses in his Eyes, and not in his
Hands.</span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in; text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">_______________________________________________</span></span><br />
<br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;">FINIS</span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: inherit;"> </span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">________________________________________________ </span></span></div>
<div style="font-style: normal; line-height: 115%; margin-bottom: 0.14in;">
<span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span>
<br />
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="http://lalaragimov.blogspot.com/2014/04/goeree16.html" target="_blank"><<Previous Chapter </a> <a href="http://lalaragimov.blogspot.com/2014/04/goeree-inleydinge-english.html" target="_blank">Table of Contents</a> Next Chapter>></div>
</div>
</div>
Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0tag:blogger.com,1999:blog-6001526527421606435.post-23917117580889960302014-02-10T14:09:00.000-08:002014-04-27T20:15:53.447-07:00Preparing to draw (1400s-1700s)<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-size: x-small;">My related posts:</span></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-size: x-small;"><a href="http://lalaragimov.blogspot.com/2013/11/treatises.html" target="_blank">1400s-1700s drawing treatises online</a></span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><a href="http://www.lalaragimov.com/research" target="_blank">Painting materials of Rubens;
bibliography</a></span></span> </div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-size: x-small;"><a href="http://lalaragimov.blogspot.com/2013/03/copying-rubens-drawing.html" target="_blank">Copying a Rubens drawing (materials, techniques) </a></span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><a href="http://lalaragimov.blogspot.com/2013/02/copying-rubens.html" target="_blank">Copying a Rubens painting (materials, techniques)</a></span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><a href="http://goo.gl/wFDxf" target="_blank">Inspired
by Rubens (Getty Museum page)</a> </span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><a href="http://lalaragimov.blogspot.com/p/blog-page.html">English translations of drawing treatises (Goeree, de Piles, Jombert)</a> </span></span> </div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-size: x-small;"><a href="http://lalaragimov.blogspot.com/2013/01/unsupervised-printmaking-experiments.html" target="_blank">Renaissance woodcut tools</a></span></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-size: x-small;"><a href="http://www.lalaragimov.com/copies" target="_blank">Image gallery: copies and reconstructions</a></span></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;">Supplies and set-up procedures for drawing as described in drawing treatises 1400s-1700s. </span><br />
<span style="font-family: inherit;">For directions on shading and hatching see <a href="http://lalaragimov.blogspot.com/2014/01/hatching.html" target="_blank">this post</a>.</span><br />
<br />
<span style="font-family: inherit;">1) Drawing tools </span><br />
<span style="font-family: inherit;">2) Paper </span><br />
<span style="font-family: inherit;">3) Body position </span><br />
<span style="font-family: inherit;">4) Hand position </span><br />
<span style="font-family: inherit;">5) Setting up lighting </span><br />
<span style="font-family: inherit;">6) Measuring </span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-size: x-small;">My sources</span><span style="font-size: x-small;">:</span></span></div>
<span style="font-family: inherit;"><span style="font-size: x-small;">Cennini early 1400s </span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;">Leonardo 1510s </span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;">Vasari 1550</span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;">Armenini 1587 </span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;">Hilliard 1598-1602</span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;">Peacham 1606</span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;">Norgate 1620s and 1648</span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;">Bates 1634</span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;">Bosse 1645</span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;">Sanderson 1658 </span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;">Goeree 1668</span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;">de Piles 1684 </span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;">Salmon 1701 </span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;">de Lairesse 1701 </span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;">Jombert 1740 1755</span></span><br />
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><b>1) Drawing tools</b></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><u><b><br /></b></u>*
All treatises mention <b>charcoal</b> (sallow, vine, etc) -- which is used for
the first
sketch only, to be incompletely erased and retraced with a more durable
material (chalk or pen and ink). The process of making oiled charcoal
for final drawings is also described (Goeree and others).</span><br />
<span style="font-family: inherit;">De Lairesse says that chalk is cleaner and makes neater lines but charcoal is best for beginners. </span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;">* It is interesting to see how the attitude to <b>pen and ink</b> drawings changes through time:</span></div>
<div style="text-align: left;">
<span style="font-family: inherit;">Armenini
listing drawing techniques puts pen and ink as the first way (for the
beginner to learn). Norgate is a fan of elaborate hatched drawings in
pen and ink quoting seeing some by Goltzius, large scale and on canvas.
Norgate says he prefers it to all others. For Sanderson 1658 drawing with the pen follows charcoal drawing and precedes chalk drawing in the learning process. De Piles 1684
says some masters suggest pen and ink to be used by beginners because it
makes you think more carefully, but most masters are against that
view. Goeree 1668 and de Lairesse 1701 both say pen and ink are a waste of time
for a student, Goeree (repeated in Jombert) notes that it is best for
engraving students. Jombert says that he considers it not good for
beginners because it cannot be erased and that pen and ink drawings are
suitable only for architecture.</span><br />
<span style="font-family: inherit;">Goeree advocates using a <b>reed pen</b> instead of a quill. Earlier treatises suggest <b>raven quills</b> for refined work and goose and other quills for the rest.</span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;">* Goeree mentions both <b>
red and black chalk</b>, but notes that black chalk is difficult to find and
when found it is usually bad quality. Red chalk (sanguine) is the preferred
medium for de Lairesse and Jombert. They
both see it as a difficult material (because of its greasiness and its
difficulty erasing), but also as the most beneficial medium for the
student to work with. Earlier treatises emphasise black chalk more.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">* Red, black and white chalk can be used in combination of two or all three (the technique now known as <i>aux trois crayons</i>). <b>White chalk</b> can be made of "tobacco-pipe clay" rolled to the thickness of a finger or a natural chalk (Goeree), and it requires toned paper to be visible. Drawing on toned paper is seen as a faster way to draw (since the paper replaces the mid-tone) and requiring more experience. (Goeree, de Lairesse). </span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;">*
The British treatises of the 1600s and de Piles mention <b>graphite</b>.
Cennini (1400s) and the Norgate-related treatises also mention <b>silver
and lead-point</b> on parchment.</span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;">* <b>Wash</b> (done with a brush
with and bistre or other ink, indigo or another dye, sanguine, or other materials tempered with water) is
described in most of these treatises. Hatching is suggested to be used
on top of smooth washes (Goeree, Jombert). A heightening of lead white with gum arabic and water is described by Cennini and Armenini for doing washes on toned paper.</span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;">The only real survivor of these media is charcoal made of twigs. Currently the rest of the drawing media are all manufactured by mixing pigments, clays, chalks, graphite and charcoal powders. There is genuine black chalk and sanguine for sale only at speciality art supplies stores such as Kremer pigments (black chalk, white chalk) and Zecchi (sanguine, brownish black chalk, etc). Everyone can make their own silverpoint by going to a jeweller and asking for a piece of silver wire. </span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;"> </span> </span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-PWBtsh7dKHo/UVDOHDYSTpI/AAAAAAAAAeg/HFnUj-15Zyo/s1600/materials.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-PWBtsh7dKHo/UVDOHDYSTpI/AAAAAAAAAeg/HFnUj-15Zyo/s1600/materials.jpg" height="168" width="320" /></a></div>
<div style="text-align: center;">
period materials from my collection</div>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><b>2) Paper</b></span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<div lang="en-GB" style="margin-bottom: 0in;">
<span style="font-family: inherit;">* "The marks of good paper
are strength and fine and even grain.</span></div>
<div lang="en-GB" style="margin-bottom: 0in;">
<span style="font-family: inherit;">For
those who draw with a quill the paper only needs to be smooth, and for
those who wash it
needs to be smooth and strong.", "There
are two types on
which you can draw: the white and the half-tone. And of the
half-tone there are three types: grey, blue, and the one tinted with bistre." (de Piles, 33)</span></div>
<div lang="en-GB" style="margin-bottom: 0in;">
<span style="font-family: inherit;"><br /></span></div>
<div lang="en-GB" style="margin-bottom: 0in;">
<span style="font-family: inherit;">*
Good paper for washing should be thick, firm/sturdy (<i>ferma</i>) and of good
sizing. If the size is weak it will drink the shadows producing spots.
(Armenini, 55)</span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;">Current paper is mostly cellulose, and the expensive rag papers are mostly cotton. The majority of paper doesn't have the "laid" surface with chain marks and I've never seen paper with felt fibre marks as you see on papers from the Renaissance and Baroque. Also papers made of linen rags are extremely rare and expensive. </span> </span></div>
</div>
<span style="font-family: inherit;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><a href="http://4.bp.blogspot.com/-Eik7aPkn530/UtTvz_w4azI/AAAAAAAAArw/cTzsU0xrKnE/s1600/after+agostino+caracci+luca+ciamberlano.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-Eik7aPkn530/UtTvz_w4azI/AAAAAAAAArw/cTzsU0xrKnE/s320/after+agostino+caracci+luca+ciamberlano.jpg" height="320" width="224" /></a></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><span style="font-size: x-small;">Drawing book illustration, 1600-1630</span></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><span style="font-size: x-small;">Luca Ciamberlano after Agostino Carracci (British Museum) </span></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><b>3) How and where do I sit when drawing? How should I place the drawing board?</b></span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"> * Goeree says that the drawing board should not lie flat before you, but that you should put it in your lap and elevate it with your knees (so you don't see your drawing foreshortened). You should fold the drawing paper five or six times on the drawing board. In a life drawing studio Goeree suggests to sit on a stool or on the floor or in any way that is convenient. When drawing after a drawing, print or painting set them vertically in front of you at a distance at which you can see the whole piece in one glance. For drawing sculpture Goeree borrows from Leonardo the advice to sit three times as far away from the model as the model is high and to keep your eyes on the same level as the model.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><span style="font-size: x-small;">This is slightly different from modern instruction since in a regular drawing class the students are either told to work at an easel or a "horse" (both of which do the job of placing the picture vertically in front of the student rather than flat and foreshortened. The sensation of drawing on a "horse" and in your lap is very different.</span></span>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><b><br /></b></span>
<br />
<div style="text-align: center;">
<span style="font-family: inherit;"><b><a href="http://2.bp.blogspot.com/-JGw8XOtLg4c/UvdoImS-LyI/AAAAAAAAAto/Pzp-Efjca44/s1600/gri_85_b13664_027.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-JGw8XOtLg4c/UvdoImS-LyI/AAAAAAAAAto/Pzp-Efjca44/s1600/gri_85_b13664_027.jpg" height="320" width="216" /></a> </b></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;">Bloemaert, <a href="http://hdl.handle.net/10020/85b13664" target="_blank"><i>Het Tekenboek </i></a><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-size: x-small;">(Getty, e-book)</span></span></span></span> </div>
<div style="text-align: center;">
<span style="font-family: inherit;"><b><br /></b></span></div>
<span style="font-family: inherit;"><b><span style="font-size: small;">4) How do I hold the chalk (pencil, pen) when drawing?</span> </b> </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">* Cennini suggests tying a piece of charcoal to a reed or a stick which provides the distance that helps when composing. Armenini says to set it into a brass holder (<i>cannella di ottone</i>).</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">*
You should hold the pencil (or pen) further from the tip than when you
write and not as vertical (Goeree, repeated in Salmon). </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">* You should hatch with a chalk by holding and turning it in such a way that you don't have to sharpen it frequently. (Goeree, repeated in Jombert and Salmon) </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">* De Lairesse says to keep the chalk or charcoal between the thumb and the index finger resting it on the slightly curved middle finger.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><span style="font-size: x-small;">This is consistent with modern instruction. </span></span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: inherit;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><a href="http://4.bp.blogspot.com/-bNoEKe8q6eA/UtTjaEjXOrI/AAAAAAAAArc/75wm_IVi6Fo/s1600/passe.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-bNoEKe8q6eA/UtTjaEjXOrI/AAAAAAAAArc/75wm_IVi6Fo/s320/passe.jpg" height="269" width="320" /></a></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><span style="font-size: x-small;">From Crispijn van de Passe, 1643,</span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;">download book <a href="https://archive.org/details/laprimaquintapar00pass" target="_blank">here</a> (Getty Research Institute) </span></span><br />
<div style="text-align: left;">
<div lang="en-GB" style="margin-bottom: 0in;">
<span style="font-family: inherit;"><br /></span></div>
</div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><b><span style="font-size: x-small;"><span style="font-size: small;">5) When drawing from life, where should the light sources be?</span></span></b></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;">* When drawing from life Cennini and most other authors recommend
light falling from the left side. If the lighting cannot be controlled
by the artist and there are several light sources, Cennini suggests to
follow the effects of the dominant light. (Cennini, Chapters VIII, IX)</span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;">*
Leonardo da Vinci (repeated and elaborated in Goeree and Hilliard)
gives very detailed advice on arranging the lighting (high and large
window, northern light, morning or evening light, a sheet of paper over
the light source to produce more diffused shadows when the daylight or
candlelight is too direct, etc.) </span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-size: x-small;">This
differs from current mainstream instruction in the fact that several
spotlights are used simultaneously to light a model, creating a chaos of shadows that
the students are supposed to follow faithfully. Only in scientific
illustration classes and books the classical left-front-top light is
advised as being the most practical and producing the clearest and most three-dimensional-looking result.</span></span><br />
<br />
<span style="font-family: inherit;"></span><br />
<span style="font-family: inherit;"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/--UyTrinQaa4/UyALLHnqDyI/AAAAAAAAAuM/20QWy-_1eHU/s1600/detail+Lauwers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/--UyTrinQaa4/UyALLHnqDyI/AAAAAAAAAuM/20QWy-_1eHU/s1600/detail+Lauwers.jpg" height="320" width="316" /></a></div>
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">A man using his porte-crayon to check the vertical allignment of parts and/or to measure.</span></span></div>
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">Note the low chairs and foot rests to keep knees high. </span></span></div>
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: inherit;">Jacobus Johannes Lauwers</span></span>, Rijksmuseum, full painting <a href="https://www.rijksmuseum.nl/en/collection/RP-T-1988-111" target="_blank">here</a></div>
<br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><b><span style="font-size: small;">6) Measuring </span></b></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: small;">Many treatises downplay measuring tools and cite the famous Michelangelo saying that the compass should be in the eye and not in the hands. Sanderson says to learn first to draw heads from prints with a compass and ruler. Many English treatises mention the use of a compass to check your finished piece and compare it with the drawing or print you copied, but not to use it in the process of drawing. De Lairesse mentions using a compass when just beginning to draw simple shapes, then repeating the exercise without one.</span></span></span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: small;">* Almost all treatises speak of pausing to look carefully at your original before starting to draw and of judging the distances between parts by eye (Goeree, De Lairesse, etc). Authors from Cennini to Goeree also suggest leaving your finished or almost finished drawing for some time and coming back to it in order to see mistakes better. </span></span></span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: small;">* Leonardo (repeated in Goeree and de Lairesse) suggested using a plumb-line as a tool to help seeing the correspondence of parts in the model and to note which parts bear most weight. </span></span></span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: small;">* De Lairesse is the only one I've seen who says that you can measure without a compass using your fingers or your charcoal (when drawing from a sculpture, for example, in addition to judging with the naked eye) but he doesn't elaborate on the process, so I suppose the current measuring technique (arm stretched out with locked elbow, pencil in hand with the thumb measuring the length from the tip of the pencil) was not used. </span></span></span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: small;">* De Piles suggests thinking of many imaginary lines, horizontal, vertical and others in your model to see better which parts correspond. De Lairesse also makes use of vertical and horizontal construction lines drawn with charcoal on the sketch. In addition, when copying a print he mentions a method for beginners of covering up part of it with a piece of paper and copying just that, then moving the paper downward in steps (a more challenging variation of copying by squares, which was also mentioned in most treatises). </span></span></span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: small;">* De Lairesse suggests that it is too much to make a beginner copy a print bigger or smaller than the original, and advises 1:1 copies. In lesson twelve (right after starting drawing from the round) he says that it is time that the student starts drawing things bigger or smaller than they are, because it is essential that he exercises to see the proportions well and that his eye serves him for ruler and compass.</span></span></span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: small;">I have never seen anything in the old treatises reminding of the current "sight-sizing" trend other than when the objects are traced mechanically with the help of a piece of glass or a net such as are mentioned by Alberti or Dürer. But tracing was not considered a legitimate way to draw, at least for a student (see de Lairesse and many other authors).</span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-size: x-small;">Currently the "classical" measuring is done with a pencil held parallel to the picture plane in an outstretched arm with elbow locked (to minimise distortions). Measuring is taught much more rigorously and its procedure is much more rigid than what is described in the treatises.</span> </span></span></span><br />
<br />
<div style="text-align: center;">
***</div>
<div style="text-align: center;">
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-family: inherit;">For directions on shading and hatching from the same treatises see <a href="http://lalaragimov.blogspot.com/2014/01/hatching.html" target="_blank">this post</a>.</span> </span><b><span style="font-size: small;"> </span></b></span></span></div>
</div>
<span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: small;"> </span> </span></span><br />
<div style="text-align: center;">
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><br /></span>
<br />
<div style="text-align: left;">
<span style="font-family: inherit;"><span style="font-size: small;"><u><b>Bibliography</b></u><br />
</span>(for more links to digitised versions of drawing treatises see <a href="http://lalaragimov.blogspot.com/2013/11/treatises.html" target="_blank">this page</a>)</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit; font-size: x-small;">Armenini, Giovanni Battista. <i><a href="https://archive.org/details/deveriprecettide00arme" target="_blank">De veri precetti della pittura.</a> </i>Ravenna, 1587</span><br />
<span style="font-family: inherit; font-size: x-small;"><br /></span>
<span style="font-family: inherit; font-size: x-small;">Bates, John. <i>The Mysteryes of Nature and Art.</i> London, 1634.<b> </b></span><br />
<span style="font-family: inherit; font-size: x-small;"><br /></span>
<span style="font-family: inherit; font-size: x-small;">Bosse, Abraham (1602-1676). <i><a href="https://archive.org/details/traictdesmaniere00boss" target="_blank">Traicté des manieres de graver en taille douce sur l'airin. </a>Par le Moyen des Eauxs Fortes, & des Vernix Durs &
Mols. Ensemble de la façon d'en Imprimer les Planches, & d'en
Construire la Presse, & autres choses concernans lesdits Arts. Par
A. Bosse, Graveur en Taille Douce.</i> Paris, 1645</span><br />
<span style="font-family: inherit; font-size: x-small;"><br /></span>
<span style="font-family: inherit; font-size: x-small;">Cennini, Cennino. <i>Il libro dell'arte. </i>Late 1300s to ealry 1400s, <a href="http://www.ilpalio.siena.it/Personaggi/CenninoCennini/" target="_blank">Italian</a> and <a href="http://www.noteaccess.com/Texts/Cennini/" target="_blank">English</a> translation</span><br />
<span style="font-family: inherit; font-size: x-small;"><b><br /></b>
Goeree, Willem <i>Inleydinge tot de Algemeene Teyken-Konst</i>. 1668, 1670 (<a href="http://digital.slub-dresden.de/werkansicht/dlf/1144/1/cache.off" target="_blank">this</a> German edition scan is readable quality)</span><br />
<span style="font-family: inherit; font-size: x-small;"><br /></span>
<span style="font-family: inherit; font-size: x-small;">Hilliard, Nicholas (1537 (ca.)-1619). <i>A Treatise Concerning the Arte
of Limning, by Nicholas Hilliard, together with, A More Compendious
Discourse Concerning ye Art of Liming, by Edward Norgate</i>, with a paralel modernized text. Ed. R.K.R. Thornton and T.G.S. Cain. Manchester, 1981.</span><br />
<span style="font-family: inherit; font-size: x-small;">The original manuscript written c. 1598-1602</span><br />
<span style="font-family: inherit; font-size: x-small;"><br /></span>
<span style="font-family: inherit; font-size: x-small;">Jenner, Thomas (fl.1631-1656 <a href="http://en.wikisource.org/wiki/Jenner,_Thomas_%28fl.1631-1656%29_%28DNB00%29" target="_blank">bio</a>). <i><a href="http://www.shipbrook.net/jeff/bookshelf/details.html?bookid=13" target="_blank">A Book of Drawing,</a> Limning, Washing or Colouring of Maps and Prints: and
the Art of Painting, with the Names and Mixtures of Colours used by the
Picture-Drawers. Or, The Young-mans Time well Spent</i>. London, 1652.</span><br />
<span style="font-family: inherit; font-size: x-small;"><br /></span>
<span style="font-family: inherit; font-size: x-small;">Jombert, Charles-Antoine. <a href="http://books.google.com/books?id=j_VAAAAAcAAJ" target="_blank"><i>Methode pour apprendre le dessein.</i></a> Paris, 1755</span><br />
<span style="font-family: inherit; font-size: x-small;"><br /></span>
<span style="font-family: inherit; font-size: x-small;">Leonardo da Vinci. <i>Trattato della pittura</i>. 1510s, first published 1651 <a href="http://www.treatiseonpainting.org/cocoon/leonardo/printEd/all">treatiseonpainting.org</a> (or <a href="http://it.wikisource.org/wiki/Trattato_della_Pittura_%28da_Vinci%29" target="_blank">html</a>, liberliber.it <a href="http://www.liberliber.it/mediateca/libri/l/leonardo/trattato_della_pittura/pdf/tratta_p.pdf" target="_blank">pdf</a>)</span><br />
<span style="font-family: inherit; font-size: x-small;"><br /></span>
<span style="font-family: inherit; font-size: x-small;">Lairesse, Gérard de (1640-1711). <a href="https://archive.org/details/grondleggingeter00lair" target="_blank"><i>Grondlegginge
ter teekenkonst : zynde een korte en zeekere weg om door middel van de
geometrie of meetkunde, de teeken-konst volkomen te leeren.</i></a><b> </b>Amsterdam<b>, </b>1701<b> </b></span><br />
<span style="font-family: inherit; font-size: x-small;">in Dutch or its later translation to French <a href="http://books.google.com/books?id=W2_G9c0x7ngC" target="_blank">HERE</a>.</span><br />
<span style="font-family: inherit; font-size: x-small;"><br /></span>
<span style="font-family: inherit; font-size: x-small;">Norgate, Edward (1580/1 - 1650). <i>Miniatura or the Art of Limning.</i> Ed. J. Muller and J. Murrel. New Haven and London, 1997.</span><br />
<span style="font-family: inherit; font-size: x-small;">The original manuscripts date c. 1626-8 and c. 1648.</span><br />
<span style="font-family: inherit; font-size: x-small;"><br /></span>
<span style="font-family: inherit; font-size: x-small;"><a href="http://collections.britishart.yale.edu/vufind/Record/1673398" target="_blank">Peacham, Henry</a> (1576?-1643?). <i>The art of drawing with the pen, and limming in water
colours, more exactlie then heretofore taught and englarged: with the
true manner of Painting upon glasse, the order of making your furnace,
Annealing, etc</i>. London, 1606</span><br />
<span style="font-family: inherit; font-size: x-small;"><br /></span>
<span style="font-family: inherit; font-size: x-small;">De Piles, Roger (1635-1709) <a href="http://books.google.com/books?id=VzZBAAAAcAAJ&dq=roger+de+piles&hl=it&source=gbs_navlinks_s" target="_blank"><i>Les premiers élémens de la peinture pratique</i></a>. Paris, 1684.</span><br />
<span style="font-family: inherit; font-size: x-small;"><br /></span>
<span style="font-family: inherit; font-size: x-small;">Ratcliffe, Thomas; Daniel, Thomas (printers); Newman, Dorman; Jones, Richard (booksellers) <i>The excellency of the pen and pencil</i>... London, <a href="https://archive.org/details/excellencyofpenp00ratc" target="_blank">1668</a>, <a href="https://archive.org/details/excellencyofpenp00lond" target="_blank">1688</a></span><br />
<span style="font-family: inherit; font-size: x-small;"><br /></span><span style="font-size: x-small;">
</span><span style="font-family: inherit;"><span style="font-size: x-small;">Sanderson, William 1586?-1676. <i>Graphice, the use of the pen and pensil, or, The most excellent art of painting : in two parts </i><a href="https://archive.org/details/graphiceuseofpen00sand" target="_blank">1658</a> </span><span style="font-size: small;"> </span></span></div>
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<span style="font-family: inherit;"><span class="st">©Lala Ragimov</span></span></div>
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Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com2tag:blogger.com,1999:blog-6001526527421606435.post-71802097049838635952014-01-14T00:11:00.002-08:002023-10-08T11:11:30.606-07:00Hatching and shading (1400s-1700s)<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: left;">
<span style="font-size: x-small;">My related posts:</span></div>
<div style="text-align: left;">
<span style="font-size: x-small;"><a href="http://lalaragimov.blogspot.com/2013/11/treatises.html" target="_blank">1400s-1700s drawing treatises online</a></span><br />
<span style="font-size: x-small;"><a href="http://www.lalaragimov.com/research" target="_blank">Painting materials of Rubens;
bibliography</a></span> </div>
<div style="text-align: left;">
<span style="font-size: x-small;"><a href="http://lalaragimov.blogspot.com/2013/03/copying-rubens-drawing.html" target="_blank">Copying a Rubens drawing (materials, techniques) </a></span><br />
<span style="font-size: x-small;"><a href="http://lalaragimov.blogspot.com/2013/02/copying-rubens.html" target="_blank">Copying a Rubens painting (materials, techniques)</a></span><br />
<span style="font-size: x-small;"><a href="http://goo.gl/wFDxf" target="_blank">Inspired
by Rubens (Getty Museum page)</a> </span><br />
<span style="font-size: x-small;"><span style="font-family: inherit;"><span style="font-size: x-small;"><a href="http://lalaragimov.blogspot.com/p/blog-page.html">English translations of drawing treatises (Goeree, de Piles, Jombert)</a> </span></span> </span> </div>
<div style="text-align: left;">
<span style="font-size: x-small;"><a href="http://lalaragimov.blogspot.com/2013/01/unsupervised-printmaking-experiments.html" target="_blank">Renaissance woodcut tools</a></span></div>
<div style="text-align: left;">
<span style="font-size: x-small;"><a href="http://www.lalaragimov.com/copies" target="_blank">Image gallery: copies and reconstructions</a></span></div>
<br />
(for the readers in L.A. - there is an interesting show called <a href="http://www.getty.edu/art/exhibitions/hatched/" target="_blank"><i>Hatched!</i></a> at the Getty, see it if you can!)<br />
<br />
Cross-hatching is a complex skill to master, but not taught in today's "standard" art schools. I have always wondered how different types of hatching were taught in 1400-1700s so I looked at these treatises:<br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">Cennini early 1400s </span><br />
<span style="font-size: x-small;">Leonardo 1510s </span><br />
<span style="font-size: x-small;">Vasari 1550</span><br />
<span style="font-size: x-small;">Armenini 1587 </span><br />
<span style="font-size: x-small;">Hilliard 1598-1602</span><br />
<span style="font-size: x-small;">Peacham 1606</span><br />
<span style="font-size: x-small;">Norgate 1620s and 1648</span><br />
<span style="font-size: x-small;">Bates 1634</span><br />
<span style="font-size: x-small;">Bosse 1645</span><br />
<span style="font-size: x-small;">Sanderson 1658 </span><br />
<span style="font-size: x-small;">Goeree 1668</span><br />
<span style="font-size: x-small;">de Piles 1684 </span><br />
<span style="font-size: x-small;">Salmon 1701 </span><br />
<span style="font-size: x-small;">de Lairesse 1701 </span><br />
<span style="font-size: x-small;">Jombert 1740 1755</span><br />
<br />
Here is the result:<br />
<br />
I A comparison of drawing instruction from the treatises (<span style="font-size: small;"><span style="font-size: x-small;">and</span> <span style="font-size: x-small;">with modern instruction in small print</span></span>),<br />
<br />
1) How do I learn cross-hatching? <br />
2) At what point in the drawing process should I start shading?<br />
3) How do I put down the shadow?<br />
4) What should the quality and character of the hatch-marks be?<br />
5) What should be the direction and curve of my marks?<br />
6) How many times can I cross my hatch-marks?<br />
7) How do I distribute shadows in a drawing? <br />
<br />
II Links to larger excerpts from the treatises themselves (my translations),<br />
<br />
III Bibliography<br />
<br />
For <b>preparatory procedures</b> such as setting up the model and lighting, how and where to sit, hand position when holding the pencil, drawing supplies (1400s-1700s) see <b><a href="http://lalaragimov.blogspot.com/2014/02/preparing-to-draw-1400s-1700s.html" target="_blank">this post</a></b>. <br />
<br />
Please contact me if you have any comments, corrections or suggestions. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-d5FsksJ9P8Y/UuAX3dwHowI/AAAAAAAAAsQ/lf4EGvDrTTc/s1600/Fialetti+pages.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="100" src="http://2.bp.blogspot.com/-d5FsksJ9P8Y/UuAX3dwHowI/AAAAAAAAAsQ/lf4EGvDrTTc/s1600/Fialetti+pages.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Three pages from a drawing book by Fialetti 1608, e-book <span style="font-size: x-small;"><a href="https://archive.org/details/lepartidelcorpo00fial" target="_blank">HERE</a></span> (Getty)</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<u><br /></u>
<b>I </b><u><b>Advice on shading and cross-hatching</b></u><br />
<br />
<br />
<b>1) How do I learn cross-hatching?</b><br />
<br />
Since not too many books have detailed instructions on the theory of
hatching, even though they are detailed in other respects, I'm assuming
copying was how most of the students learned the skill. Every instruction book I have read speaks about copying works on paper by good artists. <br />
Most authors mention copying prints in addition to drawings: for beginners the "drawing book" types of prints - examples with simpler line-work and examples with parts of face and body separated; and for more advanced artists more serious and complex prints by the masters.<br />
<br />
* Hilliard (p.80) advises to copy the hatch marks from prints of Dürer; Norgate suggests Goltzius prints and Fialetti's drawing book (Norgate 106), Sanderson suggests prints after Raphael, Armenini (239) advises drawing books and prints in general. Armenini and the Englishmen note that you should copy so well that the print and your drawing become indistinguishable, but Armenini also cautions not to get carried away in the minuteness and prettiness of the lines.<br />
* Both Goeree and de Lairesse say drawings are more natural to copy for a draughtsman than prints (though both books contain prints to be copied by the student). Goeree also cautions that precise copying of prints with pen and ink can tire a student (and is good only for future printmakers).<br />
* Jombert suggests reading Bosse's treatise on intaglio printmaking to those who want to learn more about how to apply cross-hatching lines in drawing, and he borrows some parts of that book in his treatise, even though Bosse wrote it specifically for the burin.<br />
<br />
<span style="font-size: x-small;">This is different in modern representational art classes
where only a few teachers suggest copying drawings and none I know
suggest copying prints. Images of good drawings can be easily accessed
nowadays, so in a way you don't need prints, yet some part of the aesthetic
influence gets lost by omitting them from drawing instruction.</span><br />
<br />
<div style="text-align: center;">
<span style="font-size: x-small;"><a href="http://1.bp.blogspot.com/--fpN1LDPdi4/UtTfDgZ_5FI/AAAAAAAAArM/bl4QvH1P2mQ/s1600/drawing+book+Odorado+Fialetti+hands+1608.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="http://1.bp.blogspot.com/--fpN1LDPdi4/UtTfDgZ_5FI/AAAAAAAAArM/bl4QvH1P2mQ/s320/drawing+book+Odorado+Fialetti+hands+1608.jpg" width="320" /></a> </span></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Plate from Odoardo Fialetti drawing book, 1608</span><br />
<span style="font-size: x-small;">digitised version <a href="https://archive.org/details/lepartidelcorpo00fial" target="_blank">HERE</a> (Getty Research Institute)</span> </div>
<div style="text-align: center;">
<br /></div>
<br />
<br />
<b>2) At what point in the drawing process should I start shading? </b><br />
<br />
The
general drawing process of 1400s-1700s: first the outlines are lightly
sketched (often with willow charcoal because of its erasability), then incompletely brushed off and
then retraced again, this time with black or red chalk or with pen. Then
shadows are added and built up by degrees. This process is described
with little variation in most treatises from Cennini (Chapter CXXII) in early 1400s to
Jombert (1700s). <br />
<span style="font-size: x-small;"> </span><br />
<span style="font-size: x-small;">In
modern instruction the so called "construction lines" or preparatory
lines to mark the positions of the parts of the figure take on a life of
their own and are drawn so strongly that they are as visible among the final
lines unless the eraser is used extensively (which it often is). The old method suggested
erasers (soft bread middle or pumice powder) for mistakes rather than for such "clean-up".</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-KXaxQ-1JEmM/UtTgxCHpnqI/AAAAAAAAArU/rWYPj6kkc3I/s1600/korean.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="169" src="http://4.bp.blogspot.com/-KXaxQ-1JEmM/UtTgxCHpnqI/AAAAAAAAArU/rWYPj6kkc3I/s320/korean.jpg" width="320" /></a></div>
<div style="text-align: center;">
My own recreation of the process (<a href="http://lalaragimov.blogspot.com/2013/03/copying-rubens-drawing.html" target="_blank">copy after Rubens</a>)</div>
<div style="text-align: center;">
1: willow charcoal sketch, 2 and 3: final outline with black chalk, hatching<br />
<br />
Here is the process shown in a drawing book prints:<br />
<a href="http://2.bp.blogspot.com/-aoMaD0zumSI/UpaRLTL-6gI/AAAAAAAAAog/JxLyX-TlHr4/s1600/Carracci+Ciamberlano,+drawing+book,+British+Museum.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-aoMaD0zumSI/UpaRLTL-6gI/AAAAAAAAAog/JxLyX-TlHr4/s320/Carracci+Ciamberlano,+drawing+book,+British+Museum.jpg" width="263" /></a> </div>
<div style="text-align: center;">
<span style="font-size: x-small;">Ciamberlano after Carracci, <a href="http://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?assetId=446773&objectId=1562913&partId=1" target="_blank">British Museum</a></span><br />
<br />
<span style="font-size: x-small;"><a href="https://media.britishmuseum.org/media/Repository/Documents/2014_10/8_16/d22bcea7_732d_4e38_a474_a3be0113fdd7/mid_00446771_001.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://media.britishmuseum.org/media/Repository/Documents/2014_10/8_16/d22bcea7_732d_4e38_a474_a3be0113fdd7/mid_00446771_001.jpg" width="244" /></a> </span><br />
<span style="font-size: x-small;"><span style="font-size: x-small;"><b>Ciamberlano after Carracci 1600-1630 (<a href="http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1562878&partId=1&searchText=carracci+ciamberlano&images=true&page=1" target="_blank">British Museum</a>)</b></span> </span></div>
<br />
<br />
<br />
<b>3) How do I put down the shadow?</b><br />
<br />
* Shading should be done top to bottom (de Lairesse, Goeree). For me as an artist the reason would be that
you don't smudge with your hand what you have already shaded.<br />
<span style="font-size: x-small;">Current
professors advise shading all parts of the drawing at the same time.
I've seen advice to work from top to bottom only in books on scientific
illustration, where clarity of the drawing really matters.</span><br />
<br />
* For pen and ink: "In the double and treble shadows, let your first
strokes be very dry for fear of blotting, ere you cross them" (Peacham,
26, same advice in a Norgate-related manuscript (Norgate, 240))<br />
<br />
* Shading can be started by "reuselen" in Goeree -- (<i>Grainer/ grener / reuselen/ röselen/ </i><span style="font-size: x-small;"><i>тушевать</i></span>
is to smoothly rub the chalk on the grain of the paper to get a
textured tone without visible hatch marks, L.R.). A shadow done this way can then be strengthened in places by regular hatching (Goeree, repeated in Jombert).<br />
<br />
Stomping and washes can also serve as a base for hatching. "Reuselen" and stomping are not advised to be used on their own because they are devoid of the liveliness that the hatch-marks bring. A mix of all four techniques is can be used. (Goeree repeated in Salmon and Jombert). <br />
Jombert also suggests that black chalk can be used to deepen a red chalk drawing. Salmon suggests livening up a drawing of a face with final "hard touches" with pen and ink where the shadows are darkest.<br />
<br />
*De Lairesse suggests to avoid "reuselen" or stomping except in the
darkest shadows combined with hatching. He advises the hatch marks to be first put
down rather strongly and evenly, then in half-shadows lighter (and uncrossed) and
then added with all force in the darkest double or triple shadows. <br />
<br />
These techniques can be seen in many elaborate Rubens portraits: a "grained" or smudged shadow "base" with hatch-marks on top, using red black and white chalk, and finally pen and ink accents for pupils, eyelashes, eyebrows, nostrils, mouths, etc. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-bN1brsezA9c/UtTla46gbUI/AAAAAAAAArk/ZhPruxv9Zf0/s1600/isabella+drawing+detail.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="148" src="http://1.bp.blogspot.com/-bN1brsezA9c/UtTla46gbUI/AAAAAAAAArk/ZhPruxv9Zf0/s320/isabella+drawing+detail.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="font-size: small;">Rubens, portrait of Isabella Brant (British Museum)</span></span></td></tr>
</tbody></table>
<div style="text-align: center;">
<span style="font-size: x-small;"><span style="font-size: small;">(stomping or smudging to the left of the ear; </span></span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><span style="font-size: small;">rough "graining" with black chalk to the right of the ear</span></span><br />
<span style="font-size: x-small;"><span style="font-size: small;">and with red chalk on the side of the nose;</span></span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><span style="font-size: small;">parts of the eye accented with ink)</span> </span></div>
<span style="font-size: x-small;"><span style="font-size: small;"><br /></span> </span><br />
<br />
<b>4) What should the quality and character of the hatch-marks be?</b><br />
<br />
* Armenini speaking about chalk drawings suggests to "hatch in several directions, but with such skill that you don't see any rawness or hardness, and you go over it finely until it's finished".<br />
<b><br /></b>* Goeree: "When making hatch-marks with a pen make sure that they are not scratchy or thin but rather wide and fat, and you must also draw them from above downwards, that is from fine or sharp to wide; uniform and flat shadows must be made evenly wide and similar overall." De Lairesse emphasises the neat, distinct and even quality of hatch-marks even more than Goeree.<br />
<b> </b><br />
* de Piles: Because drawing lacks colour one compensates by
"une expression spirituelle des traits" (a spirited expression of
lines) that should differ according to the differences in nature. Flesh
should be hatched or "grained" smoothly, but draperies should
have more hatching and a firmer look. Hair, feathers and fur of animals should be drawn with the tip of the chalk. (this might show some Leonardo influence)<br />
<br />
* Jombert: "Flowers and plants should be shaded with delicate and careful
hatch-marks in the direction of the growth of their leaves" (Jombert,
122) <br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-x3cVXNtAXic/UtdCgXgC3QI/AAAAAAAAAr8/E9IFzoVdYZg/s1600/bloemaert1.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-x3cVXNtAXic/UtdCgXgC3QI/AAAAAAAAAr8/E9IFzoVdYZg/s1600/bloemaert1.JPG" width="295" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Bloemaert, detail of a plate from his "Tekenboek", 1650s</span></div>
<div style="text-align: center;">
<span style="font-size: x-small;">shows lozenge-shaped spaces between hatch-marks in a simplified illustration of working up a shadow</span></div>
<div style="text-align: center;">
<span style="font-size: x-small;">(I have put this in queue to be digitised at the Getty, will insert the link when they do it)</span></div>
<br />
<br />
<br />
<br />
<b>5) What should be the direction and curve of my marks?</b><br />
<br />
<b>*</b> Peacham 1606: "All circular and round bodies that receive a
concentration of the light,<...>, when it dooth gather it selfe
into a small center, must bee shadowed in circular manner <...>".<br />
Peacham
also separately instructs for cheeks of frontal faces and for breasts
of the female nudes to be shaded with circular marks.<br />
<br />
* The shapes between hatching lines should look like lozenges and not squares (Bosse, Jombert). Square shapes fit stone
better, but for flesh something between a lozenge and a square shape is
best (Bosse)<br />
<br />
* Hatch marks should follow the curve of the object (Peacham, de Lairesse)<br />
From de Lairesse (my translation from a French edition):<br />
p 34 "look at the hatch-marks that pass on
the front of the head D and then E. The latter turn to form an arch, the
former turn downwards. One sees this difference better when looking
at a shaded column placed above or below the horizon line. It will
suffice for now to know in what circumstances one should vary the
hatch-marks, to get your hand used to it, because the beautiful style
(<i>la belle-manière</i>) consists of that." <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-9JTo_IW3uRU/UpOcD5u2D6I/AAAAAAAAAn4/xWfYInpy7-I/s1600/de+Lairesse+7+cross-hatching.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="277" src="http://1.bp.blogspot.com/-9JTo_IW3uRU/UpOcD5u2D6I/AAAAAAAAAn4/xWfYInpy7-I/s400/de+Lairesse+7+cross-hatching.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gérard de Lairesse, 1701<br />
download <a href="https://archive.org/details/grondleggingeter00lair" target="_blank">here</a> (Getty Research Institute)</td></tr>
</tbody></table>
<br />
<br />
<br />
<b>6) How many times can I cross my hatch-marks? (How many directions can be used in cross-hatching?)</b><br />
<br />
* As many as necessary (Armenini, and the same is implied by Cennini and Jombert<b>)</b> <br />
<br />
* No more than three directions of hatch marks are used
(Peacham, de Lairesse, Bosse).<br />
<br />
* Half shadows should not be cross-hatched (Peacham, de Lairesse) <br />
<br />
Peacham (1606) specifies that one layer is used
for planes, two for core shadows, and
three for crevices and other very dark places:<br />
A "single shadow" is used for flat surfaces that are not in full light,<br />
a "double shadow" for surfaces that "begin to forsake your eyes as you may perceive best in a column",<br />
a
"treble shadow" is used "farthest from the light as in gulffes, chinks
of the earth, wells, caves within houses <...> under the bellies
and flanks of beastes" etc.<br />
"Your treble shaddowe is made by crossing
over your double shadow againe, which darkeneth by third
part<...>"<br />
<br />
Peacham specifies the use of each in
shading a portrait and a nude: "first a single shadowe in the temples,
then a double shadow in the corner of the eies" or "the shinbone from
the knee to the insteppe, is made by shadowing one halfe of the leg with
a single shadow" - the directions are very formulaic, but at the same
time if beginners follow them, they can get a plausible face and figure
without forgetting the main landmarks.<br />
<br />
<span style="font-size: x-small;">Anyone who in a standard modern art department would dare say that you shouldn't cross lines more than three times in a drawing would risk ridicule. And yet if you examine old master drawings you will see that the majority followed it.</span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-XtN4PWxApYQ/Um1gdr4BQbI/AAAAAAAAAnI/GAJru_Waimc/s1600/peacham1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://4.bp.blogspot.com/-XtN4PWxApYQ/Um1gdr4BQbI/AAAAAAAAAnI/GAJru_Waimc/s200/peacham1.jpg" width="152" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Peacham 1606,<br />
single and double shadow illustrations<br />
(in queue to be digitised at the Getty) </td></tr>
</tbody></table>
<br />
<br />
<br />
<b>7) How do I distribute shadows in a drawing?</b><br />
<br />
The part closest to you should be lightest and the parts further away should lose themselves in a light shadow (Armenini 83, Vasari 218, Sanderson 48) <br />
Cennini has similar advice - to go many times over the extremities (either periphery or depth) and less over the relief (<a href="http://www.ilpalio.siena.it/Personaggi/CenninoCennini/LeggiCapitolo.aspx?cap=8" target="_blank">Capitolo VIII</a>) <span id="lblTesto"> "nelle stremità vuoi fare più scure, tanto vi torna più volte; e così, per lo contrario, in su e rilievi tornavi poche volte." </span><br />
<span id="lblTesto">Personally I have seen this concept more at work in paintings and large finished compositions than in sketches or studies.</span><br />
<span id="lblTesto">Leonardo (repeated and elaborated by Goeree) says that the perspective of lights and darks should be studied very carefully from life.</span> <br />
<br />
<span style="font-size: x-small;">Current teachers simply say that less contrast should be used for objects further away. Probably the advice to make everything further from you darker may sound formulaic to modern art professors' ears.</span><br />
<span style="font-size: x-small;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://images.uffizi.it/production/attachments/1536923151674353-raffaello-disegno-adamo.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://images.uffizi.it/production/attachments/1536923151674353-raffaello-disegno-adamo.jpg" width="182" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">A Raphael drawing illustrating the concept (see above), Uffizi </span></div>
<br />
<br />
<br />
<br />
_______________________________________________________________ <br />
_______________________________________________________________<br />
<br />
<br />
<b>II </b><u><b>Excerpts from treatises</b></u><br />
<br />
<br />
1) de Piles "Les premiers élémens de la peinture pratique" has many pages on drawing technique. See my translation of them <a href="http://www.lalaragimov.com/r/rogerdepiles" target="_blank">HERE</a><br />
<br />
2) Jombert: see my translation of some parts of his drawing treatise <a href="http://lalaragimov.blogspot.com/2013/12/jombert-drawing-treatise-notes.html" target="_blank">HERE</a><br />
<br />
3) de Lairesse (my translation from <a href="http://books.google.com/books?id=W2_G9c0x7ngC" target="_blank">this</a> French translation of his 1701 drawing treatise):<br />
<br />
"Lesson 7:<br />
After you finish the contours you place the shadows,
which requires getting used to drawing with sanguine to hatch neatly
and distinctly without stomping or "grainer" like some
masters teach. ( <i>Grainer / grener/ rauselen / röselen / </i><span style="font-size: x-small;"><i>тушевать</i></span>
is to rub the chalk on the grain of the paper in a way to get a
textured tone without visible hatch marks, L.R.)<br />
<br />
Lesson 8:<br />
Hatch-marks should cross no more than two or three times (in the
strongest shadows) as seen in figures 10-16. For relief only
one layer of hatch marks should be used, and for deepest hollows you
can blend with a stomp or with the crayon (<i>estomper ou
grainer</i>). Contours should be lighter on the light
side and more pronounced on shadow side. Shading is done from
top to bottom with simple, but rather strong hatching with as equal a
distance (between lines) as possible. Afterwards hatch the
lighter half-shadows with simple, more or less light lines according
to the object because half-shadows should never be cross-hatched.
To finish and give all the force to the shadows you need to double
the hatch marks and even triple them if needed.<br />
<br />
<...> for hatching with sanguine (red chalk), it's likely
that students will find it more difficult to do than "grainer"
(shading with smooth tone), but it will make them develop a firmer hand
to make sure that all the hatch marks are of the same thickness and
are equidistant <..> it demands more judgement and exactness,
then one needs to know what effect is produced by two or three or four
lines that cross each other, which can't be learned by simply
stomping or "grener" (rubbing the chalk on paper, L.R.). (de Lairesse, 33)<br />
<br />
p 34 look at the
hatch-marks that pass on the front of the head D and then E.
The latter turn to form an ark, the former turn downwards.
One sees this difference better when one looks at a shaded column
placed above or below the horizon line. It will suffice for now
to know in what circumstances one should vary the hatch-marks, to get
your hand used to it, because the beautiful style (<i>la
belle-manière</i>) consists of that."<br />
<br />
_______________________________________________________________<br />
_______________________________________________________________<br />
<br />
<br />
<b>III </b><u><b>Bibliography</b></u><br />
(for more links to digitised versions of drawing treatises see <a href="http://lalaragimov.blogspot.com/2013/11/treatises.html" target="_blank">this page</a>)<br />
<br />
<span style="font-size: x-small;">Armenini, Giovanni Battista. <i><a href="https://archive.org/details/deveriprecettide00arme" target="_blank">De veri precetti della pittura.</a> </i>Ravenna, 1587</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">Bates, John. <i>The Mysteryes of Nature and Art.</i> London, 1634.<b> </b></span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">Bosse, Abraham (1602-1676). <i><a href="https://archive.org/details/traictdesmaniere00boss" target="_blank">Traicté des manieres de graver en taille douce sur l'airin. </a>Par le Moyen des Eauxs Fortes, & des Vernix Durs &
Mols. Ensemble de la façon d'en Imprimer les Planches, & d'en
Construire la Presse, & autres choses concernans lesdits Arts. Par
A. Bosse, Graveur en Taille Douce.</i> Paris, 1645</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">Cennini, Cennino. <i>Il libro dell'arte. </i>Late 1300s to ealry 1400s, <a href="http://www.ilpalio.siena.it/Personaggi/CenninoCennini/" target="_blank">Italian</a> and <a href="http://www.noteaccess.com/Texts/Cennini/" target="_blank">English</a> translation</span><br />
<span style="font-size: x-small;"><b><br /></b>
Goeree, Willem <i>Inleydinge tot de Algemeene Teyken-Konst</i>. 1668, 1670 (<a href="http://digital.slub-dresden.de/werkansicht/dlf/1144/1/cache.off" target="_blank">this</a> German edition scan is readable quality)</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">Hilliard, Nicholas (1537 (ca.)-1619). <i>A Treatise Concerning the Arte of Limning, by Nicholas Hilliard, together with, A More Compendious Discourse Concerning ye Art of Liming, by Edward Norgate</i>, with a paralel modernized text. Ed. R.K.R. Thornton and T.G.S. Cain. Manchester, 1981.</span><br />
<span style="font-size: x-small;">The original manuscript written c. 1598-1602</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">Jenner, Thomas (fl.1631-1656 <a href="http://en.wikisource.org/wiki/Jenner,_Thomas_%28fl.1631-1656%29_%28DNB00%29" target="_blank">bio</a>). <i><a href="http://www.shipbrook.net/jeff/bookshelf/details.html?bookid=13" target="_blank">A Book of Drawing,</a> Limning, Washing or Colouring of Maps and Prints: and
the Art of Painting, with the Names and Mixtures of Colours used by the
Picture-Drawers. Or, The Young-mans Time well Spent</i>. London, 1652.</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">Jombert, Charles-Antoine. <a href="http://books.google.com/books?id=j_VAAAAAcAAJ" target="_blank"><i>Methode pour apprendre le dessein.</i></a> Paris, 1755</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">Leonardo da Vinci. <i>Trattato della pittura</i>. 1510s, first published 1651 <a href="http://www.treatiseonpainting.org/cocoon/leonardo/printEd/all">treatiseonpainting.org</a> (or <a href="http://it.wikisource.org/wiki/Trattato_della_Pittura_%28da_Vinci%29" target="_blank">html</a>, liberliber.it <a href="http://www.liberliber.it/mediateca/libri/l/leonardo/trattato_della_pittura/pdf/tratta_p.pdf" target="_blank">pdf</a>)</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">Lairesse, Gérard de (1640-1711). <a href="https://archive.org/details/grondleggingeter00lair" target="_blank"><i>Grondlegginge ter teekenkonst : zynde een korte en zeekere weg om door middel van de geometrie of meetkunde, de teeken-konst volkomen te leeren.</i></a><b> </b>Amsterdam<b>, </b>1701<b> </b></span><br />
<span style="font-size: x-small;">in Dutch or its later translation to French <a href="http://books.google.com/books?id=W2_G9c0x7ngC" target="_blank">HERE</a>.</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">Norgate, Edward (1580/1 - 1650). <i>Miniatura or the Art of Limning.</i> Ed. J. Muller and J. Murrel. New Haven and London, 1997.</span><br />
<span style="font-size: x-small;">The original manuscripts date c. 1626-8 and c. 1648.</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;"><a href="http://collections.britishart.yale.edu/vufind/Record/1673398" target="_blank">Peacham, Henry</a> (1576?-1643?). <i>The art of drawing with the pen, and limming in water
colours, more exactlie then heretofore taught and englarged: with the
true manner of Painting upon glasse, the order of making your furnace,
Annealing, etc</i>. London, 1606</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">De Piles, Roger (1635-1709) <a href="http://books.google.com/books?id=VzZBAAAAcAAJ&dq=roger+de+piles&hl=it&source=gbs_navlinks_s" target="_blank"><i>Les premiers élémens de la peinture pratique</i></a>. Paris, 1684.</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">Ratcliffe, Thomas; Daniel, Thomas (printers); Newman, Dorman; Jones, Richard (booksellers) <i>The excellency of the pen and pencil</i>... London, <a href="https://archive.org/details/excellencyofpenp00ratc" target="_blank">1668</a>, <a href="https://archive.org/details/excellencyofpenp00lond" target="_blank">1688</a></span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;"><b>Sanderson</b>, William 1586?-1676. <i>Graphice, the use of the pen and pensil, or, The most excellent art of painting : in two parts </i><a href="https://archive.org/details/graphiceuseofpen00sand" target="_blank">1658</a></span> <br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;"><br /></span>
<span class="st" style="font-size: x-small;"><span class="st">©</span> Lala Ragimov</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;"><br /></span>
</div>
Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com3tag:blogger.com,1999:blog-6001526527421606435.post-2961052636575336042013-12-27T21:38:00.001-08:002015-10-03T14:14:01.584-07:00Jombert's drawing treatise<div dir="ltr" style="text-align: left;" trbidi="on">
by Lala Ragimov <br />
<br />
This is my quick translation of excerpts of Jombert's <a href="http://books.google.com/books?id=j_VAAAAAcAAJ" target="_blank"><i>Methode pour apprendre le dessein</i></a> , 1755. If you see mistakes or have comments, please write below or send me a <a href="http://www.lalaragimov.com/art/em.jpg" target="_blank">message</a>.<br />
<br />
The book is a compilation of extremely detailed drawing advice by different authors (I could recognise Goeree, de Piles, de Lairesse and Bosse, maybe there are others as well). <br />
It contains illustrations by/after Cochin, Audran, Le Brun, etc. An earlier edition has a completely different set of illustrations, some by Abraham Bosse (download <a href="http://books.google.com/books?id=btROAAAAcAAJ" target="_blank">here</a>)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-ect3_ie6zrY/Ur5h9lfTWdI/AAAAAAAAApo/tmAyXhqYHkI/s1600/planche+cochin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-ect3_ie6zrY/Ur5h9lfTWdI/AAAAAAAAApo/tmAyXhqYHkI/s320/planche+cochin.jpg" width="248" /></a></div>
<div style="text-align: center;">
<span class="st">Charles-Nicholas </span>Cochin's illustration in Jombert</div>
<br />
p62<br />
<i>Of different ways to shade a drawing. </i><br />
<br />
(borrowed from Goeree - L.R.)<br />
Up to now we have spoken about the outline or contour, now we will explain about shading.<br />
Shading can be done in three ways:<br />
-hatching (<i>en hachant</i>)
simply with the chalk, like in prints; that which is bad taste and is
almost not practiced except for those who are learning how to engrave;<br />
- graining (<i>en grainant</i>)
rubbing the crayon on the paper to prepare the masses of shadows and
then hatching on top to form them and stop them: this manner is called
"grainer" because this rubbing makes the grain of the paper appear.<br />
- stomping (<i>en estompant</i>)
that which is done melting the lights with the darks by the means of a
rolled piece of paper with the tip with which one lightly rubs the
drawing after it is shaded with the crayon: <br />
p63<br />
this rolled
paper is called an <i>estompe</i>. It could be done with chamois leather
rolled that way, or one can even take powder of sanguine or other chalk
with the tip of the estompe and make the tints for shading as one does
with a brush: then one retouches it stronger with a chalk.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-yFhYkxBFh6M/Ur5uudjeOII/AAAAAAAAAqA/bwmE57Hqsks/s1600/polenich.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-yFhYkxBFh6M/Ur5uudjeOII/AAAAAAAAAqA/bwmE57Hqsks/s320/polenich.jpg" width="235" /></a></div>
<div style="text-align: center;">
Polenich after Charles Le Brun</div>
<div style="text-align: center;">
(illustration used by Jombert)</div>
<br />
<br />
<i>Way of shading by hatching with a chalk.</i><br />
<br />
The manner of shading by hatching is done with lines
or hatch-marks which one redoubles ones on top of others in different
directions until one gives the necessary force to the shadow, taking
care not to cross them too much which makes the drawing hard and bad
taste.<br />
That is why one should avoid crossing the lines at right angles
but rather to put the second layer diagonally which creates spaces between lines that that look
like lozenges (not squares). <br />
I will not enter into more detail here, on the manner to arrange the hatch-marks see <i>le Traité de la Gravure à l'eau forte et au burin</i> of which a new edition came out some years ago.<br />
One
needs to be able to hatch in all directions without having to turn the
paper every time, and always with a thick crayon, even for the delicate
hatch-marks which one puts in the lights, supposing always that one is
drawing big, which is necessary if one wants to make progress in this
art. Thus one needs to get used<br />
p64<br />
to a thick chalk and to
sharpen it as little as possible. There are even masters who don't
permit their students to sharpen their chalks except one time. This
method is good and not that difficult because as the chalk thickens and its point blunts, it forms angles with which one may mark the most
delicate lines.<br />
When one hatches all the shadows with chalk on
white paper, it is necessary to take care of the paper that serves for
the lights, especially when you use sanguine because it cannot be
completely erased with the bread, and it always leaves spots on the
paper. Black chalk dirties the paper less and is less greasy than
sanguine.<br />
<br />
<br />
<i>Manner of drawing by graining.</i><br />
<br />
After
having finished your sketch by going over the traces of the first
outline with chalk, you "grain" with a lot of force and prepare the
drawing throughout: but before shading it completely make sure that your
outline is exactly like the original.<br />
Because you want to draw in good taste don't arrange big lines (<i>tailles</i>) and beautiful hatching slavishly except where necessary,
because if the drawing is only grained it will seem drawn too softly,
obliging you to hatch certain places<br />
p65<br />
to make
half-shadows and to stop the shadows with more firmness: but you need to
do that without affectation and that the resulting mix is a fat and
soft (velvety) (<i>moelleux</i>) paste. To draw in a "fatter" manner
you put the darkest touches into the thickness of the shadow sufficient
to prevent the traits to cut too hard with what is near it and that they
hit the main force in the middle.<br />
You should avoid making areas
of shadow too thin and too parallel. Notice also that the nature is
never perfectly round, but that one finds it composed of many angles and
planes (<i>méplats</i>), but that one shouldn't overemphasize making
the contours angular similar to rocks. This defect would be even worse
than drawing too round: one should find the right mean between these two
ways of drawing.<br />
<br />
A note by Jombert: Planes is a term peculiar to painting. The human body is not all round but is composed
of surfaces that are flat and rounded only at the edges, one needs to
make those different surfaces felt in the drawing. <i>Une manìere meplatte</i> is that which makes the planes felt, <i>une manìere ronde</i> is the one that ignores nature. (borrowed from Goeree - L.R.)<br />
<br />
<br />
<i>A way to shade by stomping</i> <br />
<br />
Sweetening (blending) what one has hatched before by rubbing with an <i>estompe</i>. If the paper is white, all the half-shadows are done<br />
p 66<br />
by the
estompe alone, rubbing lightly because it's charged enough with the
colour. And one should reserve (<i>menager</i>) the white of the paper for the
lights.<br />
Sanguine is stomped like black chalk on white or grey
paper, but stomped sanguine is not as pleasant-looking as black chalk.
If the paper is grey it's heightened with chalk white; but you cannot stomp it. Finally one gives force to the greatest shadows by hatching
on top, but with little or no stomping.|...|<br />
<br />
p67 <br />
|...| There
are people who give force to their sanguine drawings by retouching them
with a bit of black chalk, especially when they don't have dark
sanguine: others make flesh-tones with red chalk and the draperies with
black chalk to make their drawings more pleasant-looking by the variety
of colour.<br />
<br />
<div style="text-align: center;">
<a href="http://3.bp.blogspot.com/-LFlus6t2udI/Ur5xrCMVDpI/AAAAAAAAAqM/HgQczeHZJ5U/s1600/audran+jombert.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="241" src="http://3.bp.blogspot.com/-LFlus6t2udI/Ur5xrCMVDpI/AAAAAAAAAqM/HgQczeHZJ5U/s320/audran+jombert.jpg" width="320" /></a></div>
<div style="text-align: center;">
<i> </i><a href="https://archive.org/details/gri_proportionsd00audr" target="_blank">Gérard Audran</a> (reused by Jombert) </div>
<br />
<i>About pen drawings </i><br />
<br />
It seems that the pen suits people who draw well more than to beginners,<br />
p74<br />
because
once put down it can't be erased. There are nonetheless those who
believe that it's good for beginners to make them pay more attention,
but few people think this way because the habit of the pen leads to a
hard and dry style of drawing. For learning it nothing is better than
copying good prints where the burin is beautiful and where there is no
confusion about hatch-marks, such as prints of Carraccis, Melan and Le
Clerc. This manner of drawing is the best for those who want to
practice engraving.<br />
For drawing with a pen plumes of the crow or
goose are usually taken, because they are harder and make a neater lin
on paper. The best are the tips of wings, those of right wing, those
where the side of the longest barbs looks at the thumb are the best in
the hand for drawing or writing. One should always chose the lightest
and thinnest ones: lightest because they cut (split) easier, and
thinnest because they will be easiest to cut for thin lines. The oldest
are the best as long as they stayed in a dry place. Crow quills are the
best for<br />
p75 <br />
drawing the landscape. Swan quills are only
good for thick lines. Drawings done entirely with ink are only used for
architecture.<br />
<br />
p122<br />
Flowers and plants should be shaded with delicate and careful hatch-marks in the direction of the growth of their leaves<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-7aI7HYDe1-Q/Ur5iRhzWU2I/AAAAAAAAApw/B155tL_uzLM/s1600/cochin1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="307" src="http://1.bp.blogspot.com/-7aI7HYDe1-Q/Ur5iRhzWU2I/AAAAAAAAApw/B155tL_uzLM/s320/cochin1.jpg" width="320" /></a></div>
<div style="text-align: center;">
Cochin (?), illustration, Jombert<br />
<br />
<span style="font-size: small;">My related posts:</span><br />
<span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit; font-size: x-small;"><span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/p/blog-page.html">English translations of drawing treatises (Goeree, de Piles, Jombert)</a></span></span></span></span></div>
<div style="text-align: center;">
<span style="font-size: small;">
<a href="http://lalaragimov.blogspot.com/2013/11/treatises.html" target="_blank"> 1400s-1700s drawing
treatises online </a><br />
<a href="http://www.lalaragimov.com/research" target="_blank">Painting materials of Rubens, with
bibliography </a><a href="http://lalaragimov.blogspot.com/2013/02/copying-rubens.html" target="_blank"> </a><br />
<a href="http://lalaragimov.blogspot.com/2013/01/unsupervised-printmaking-experiments.html" target="_blank"> Renaissance woodcut tools</a><br />
<a href="http://www.lalaragimov.com/copies" target="_blank"> Image gallery: my copies and reconstructions</a></span><br />
<div style="text-align: center;">
<span style="font-size: small;">
<a href="http://goo.gl/wFDxf" target="_blank"> Inspired
by Rubens</a> (Getty Museum page, featuring me) <br />
<a href="http://lalaragimov.blogspot.com/2013/03/copying-rubens-drawing.html" target="_blank">Copying a Rubens drawing (materials, techniques) </a><br />
<a href="http://lalaragimov.blogspot.com/2013/02/copying-rubens.html" target="_blank">
Copying a Rubens painting (materials, techniques)</a></span></div>
</div>
<br />
<br />
<br />
© Lala Ragimov - when citing my translation, please make sure to write my name next to the quote </div>
Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0tag:blogger.com,1999:blog-6001526527421606435.post-85729187960325810752013-11-24T23:10:00.001-08:002014-05-14T13:35:56.689-07:00Drawing treatises online<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: left;">
<span style="font-size: small;">my related posts: </span></div>
<div style="text-align: left;">
<span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/2013/03/copying-rubens-drawing.html" target="_blank">Copying a Rubens drawing (materials, techniques)</a></span><br />
<span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/2014/02/preparingtodraw.html" target="_blank">Preparing to draw (from 1400s-1700s treatises)</a> </span><br />
<span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/2014/01/hatching.html" target="_blank">Hatching</a><a href="http://lalaragimov.blogspot.com/2014/01/hatching.html" target="_blank"> and shading (from 1400s-1700s treatises)</a> </span><br />
<span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/2013/02/copying-rubens.html" target="_blank">Copying a Rubens painting (materials, techniques)</a></span><br />
<span style="font-size: small;"><span style="font-size: small;"><a href="http://goo.gl/wFDxf" target="_blank">Inspired
by Rubens (Getty Museum page)</a> </span></span><br />
<span style="font-size: small;"><span style="font-size: small;"><span style="font-family: inherit; font-size: x-small;"><span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/p/blog-page.html">English translations of drawing treatises (Goeree, de Piles, Jombert)</a></span> </span><span style="font-size: x-small;"> </span> </span> </span></div>
<div style="text-align: left;">
<span style="font-size: small;"><a href="http://www.lalaragimov.com/research" target="_blank">Painting materials of Rubens;
bibliography </a><a href="http://lalaragimov.blogspot.com/2013/02/copying-rubens.html" target="_blank"> </a></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/2013/01/unsupervised-printmaking-experiments.html" target="_blank">Renaissance woodcut tools</a></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><a href="http://www.lalaragimov.com/copies" target="_blank">Image gallery: copies and reconstructions</a></span></div>
<br />
This is a directory of free downloadable <b>1400s-1700s</b> drawing instruction books I arranged in two groups:<br />
<u><b>Treatises</b></u> - textbooks with detailed instructions and information about materials, techniques, and theory of drawing. Many contain illustrations and examples for copying.<br />
<u><b>Drawing books, anatomies, books of proportion</b></u> - richly illustrated books without detailed descriptions of technique.<br />
Drawing books usually have no text and teach through images to be copied by the student in the order of growing complexity. Books of proportion, anatomy, etc. contain text related to those specific topics in addition to numerous images. <br />
<br />
These books are a window into art education of the time, so they are fascinating to study for anyone who wants to understand old master drawings better, and for anyone trying to <a href="http://lalaragimov.blogspot.com/2013/03/copying-rubens-drawing.html" target="_blank">copy</a> or assimilate this style.<br />
I keep adding to the list, so if you have any corrections or suggestions for more sources, please comment below or send me an <a href="http://www.lalaragimov.com/art/em.jpg" target="_blank">email</a>. <br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-rnZhK57-S0Q/UpOcquvcFAI/AAAAAAAAAn8/CgL8HZxYZaU/s1600/de+Lairesse+10.jpg" imageanchor="1"><img border="0" src="http://2.bp.blogspot.com/-rnZhK57-S0Q/UpOcquvcFAI/AAAAAAAAAn8/CgL8HZxYZaU/s320/de+Lairesse+10.jpg" height="215" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: center;">
de Lairesse, 1701, GRI, pdf <a href="https://archive.org/details/grondleggingeter00lair" target="_blank">here</a> </div>
<h2 style="text-align: left;">
</h2>
<h2 style="text-align: left;">
<u><span style="font-weight: normal;"><span style="font-size: small;"><b>Treatises</b>:</span></span></u></h2>
(Italian, Dutch, Flemish, French, English, German, Spanish, each in chronological order)<br />
<br />
<u>Italian Treatises</u><br />
(Cennini and Armenini providing most information about technique and tools):<br />
<br />
*<b> Cennini</b>, Cennino 1370-1440. <i>Il libro dell'arte</i>. Early 1400s <br />
Italian, 1859 <a href="https://archive.org/details/illibrodellarte00cenngoog" target="_blank">e-book</a>; liberliber <a href="http://www.liberliber.it/mediateca/libri/c/cennini/il_libro_dell_arte_etc/pdf/il_lib_p.pdf" target="_blank">pdf</a>; ilpalio.siena.it <a href="http://www.ilpalio.siena.it/Personaggi/CenninoCennini/" target="_blank">html</a><br />
English, (tr. Thompson 1933), <a href="http://www.noteaccess.com/Texts/Cennini/" target="_blank">html</a> <br />
* <b>Alberti</b>, Leon Battista 1404-1472. <i>De pictura</i>. 1435<br />
Latin and Italian, liberliber.it <a href="http://www.liberliber.it/mediateca/libri/a/alberti/de_pictura/html/index.htm" target="_blank">html</a><br />
Italian transl.: 1547 <a href="https://archive.org/details/gri_pitturexxxxx00albe" target="_blank">e-book</a>; wikisource <a href="http://it.wikisource.org/wiki/Della_pittura" target="_blank">html</a><br />
* <b>Leonardo</b> da Vinci 1452-1519. <i>Trattato della pittura</i>. 1510s, first published 1651 (<a href="http://www.dictionaryofarthistorians.org/trichetdufresner.htm" target="_blank">info</a>)<br />
English, French, Italian, books, manuscripts, images <a href="http://www.treatiseonpainting.org/cocoon/leonardo/printEd/all">treatiseonpainting.org</a><br />
Italian, Wikisource <a href="http://it.wikisource.org/wiki/Trattato_della_Pittura_%28da_Vinci%29" target="_blank">html</a>, liberliber.it <a href="http://www.liberliber.it/mediateca/libri/l/leonardo/trattato_della_pittura/pdf/tratta_p.pdf" target="_blank">pdf</a><br />
* <b>Vasari</b>, Giorgio 1511-1574. <i>Le vite de' più eccellenti pittori, scultori e architettori.</i> 1550<br />
Italian, vasari.sns.it <a href="http://vasari.sns.it/consultazione/Vasari/indice.html" target="_blank">html</a><br />
English translation (of parts of <i>Vite</i>), <i>Vasari on technique. 1907 </i> <a href="http://books.google.com/books/about/Vasari_on_technique.html?id=MLQQAQAAMAAJ" target="_blank">e-book</a><br />
* <b>Lomazzo</b>, Giovanni Paolo 1538-1600. <i>Trattato dell'arte de la pittura</i>.<br />
Italian, e-books: <a href="https://archive.org/details/trattatodellarte00loma" target="_blank">1584</a>, <a href="http://books.google.com/books?id=woLXoLDqh1sC" target="_blank">1585</a>, <a href="http://books.google.com/books?id=G157iMiwsQAC" target="_blank">1590</a><br />
English (tr. Haydock, 1598): <a href="https://archive.org/details/tractecontaining00loma" target="_blank">e-book</a><br />
* <b>Armenini</b>, Giovanni Battista 1530-1609. <i>De veri precetti della pittura.</i><br />
Italian, e-book, <a href="https://archive.org/details/deveriprecettide00arme" target="_blank">1586</a><br />
* <b>Baldinucci</b>, Filippo 1624-1697 <i>Vocabolario toscano dell'arte del disegno.</i> (an arts dictionary)<br />
Italian, e-books <a href="http://books.google.com/books?id=E6KQ4kBHHK8C" target="_blank">1681</a>, <a href="http://books.google.com/books?id=7s1NAQAAIAAJ" target="_blank">1809</a><br />
<br />
<br />
<u>Dutch / Flemish Treatises </u><br />
(Goeree and de Lairesse provide the most detailed technical instructions)<br />
<br />
*<b>Van Mander</b>, Karel 1548-1606. <i>Het schilder-boeck</i>. 1604 <br />
Dutch, dbnl.org <a href="http://www.dbnl.org/tekst/mand001schi01_01/" target="_blank">html</a><br />
*<b>Rubens</b>, Peter Paul 1577-1640 and others (after). <i>Theorie de la figure humaine</i>.<br />
French, e-book <a href="https://archive.org/details/theoriedelafigur00rube" target="_blank">1773</a><br />
* <b>Passe</b>, Crispijn van de (d. 1670). <i>La prima-[quinta] parte della luce del dipingere et disegnare</i>. <br />
Italian, Dutch, French, German, e-book, <a href="https://archive.org/details/laprimaquintapar00pass" target="_blank">1643</a><br />
<br />
*<b> Goeree</b>, Willem 1635-1711<br />
<i> Inleydingh tot de practijck der al-gemeene schilder-konst, waer in neffens de heerlijckheyt en nuttigheydt der selve, kortelijck wert aengewesen</i><br />
<i> </i> Dutch, e-book, <a href="http://igitur-archive.library.uu.nl/bijzcoll/2008-0321-200635/UUindex.html" target="_blank">1670</a> (
Universiteitsbibliotheek Utrecht)<br />
<i>Anweisung zu der allgemeinen Reiß- und Zeichen-Kunst. </i><i> </i><br />
<i> </i>German transl.,<i> </i>e-books: <a href="http://books.google.com/books?id=aHM6AAAAcAAJ" target="_blank">1669</a>, <a href="http://gdz.sub.uni-goettingen.de/en/dms/loader/img/?PPN=PPN535351046" target="_blank">1677</a>(GDZ, with links to ToC headings)<br />
<i>Anweisung zu der Practic oder Handlung der allgemeinen Mahler-Kunst</i>.<br />
German transl., e-books: <a href="http://gdz.sub.uni-goettingen.de/dms/load/img/?PPN=PPN535350635&DMDID=DMDLOG_0001" target="_blank">1677</a><span id="goog_657443822"> (GDZ)</span><span id="goog_657443823"></span>, <a href="http://books.google.com/books/about/Anweisung_zu_der_Practic_der_allgemeinen.html?id=trE-AAAAcAAJ" target="_blank">1678</a><br />
<i>Anweisung zu der Mahler-Kunst.</i> <br />
German transl., e-book <a href="http://Anweisung zu der Practic oder Handlung der allgemeinen Mahler-Kunst" target="_blank">1756</a>, <a href="http://digital.slub-dresden.de/werkansicht/dlf/1144/1/cache.off" target="_blank">1750</a> (high res.)<br />
<i>Natuurlyk en schilderkonstig ontwerp der menschkunde</i> <i>leerende niet alleen de kennis van de gestalte . tot de teykenkunde, schilderkunde . toepassen, maar ook hoe sich een...</i><br />
Dutch, e-book, <a href="https://archive.org/details/natuurlykenschil00goer" target="_blank">1683</a><br />
<i>Inleyding tot de praktyk der algemeene schilderkonst</i>.<br />
Dutch, e-books: <a href="https://archive.org/details/inleydingtotdepr00goer" target="_blank">1704</a>, <a href="https://archive.org/details/inleydingtotdepr00goer" target="_blank">1705</a><br />
<i>An Introduction to the General Art of Drawing</i><br />
English, html <a href="http://lalaragimov.blogspot.com/2014/04/goeree-inleydinge-english.html">1674</a> (my transcript) <span style="color: #3d85c6;"><span style="color: red;">NEW</span> </span><br />
<br />
*<b> de Lairesse</b>, Gerard 1640-1711. <i>Grondlegginge
ter teekenkonst : zynde een korte en zeekere weg om door middel van de
geometrie of meetkunde, de teeken-konst volkomen te leeren</i>.<b> </b><br />
<b> </b>Dutch, e-book <a href="https://archive.org/details/grondleggingeter00lair" target="_blank">1701</a><br />
French translation, 1787, <a href="http://books.google.com/books?id=W2_G9c0x7ngC" target="_blank">e-book</a><br />
English translation, 1764, <a href="http://archive.org/details/gri_33125011115850" target="_blank">e-book</a> <span style="color: #3d85c6;">NEW</span> <b> </b><br />
<br />
<br />
<u>French Treatises</u><br />
<br />
* <b>du Fresnoy</b>, Charles Alphonse 1611-1668. <i>De arte graphica. </i><br />
<i> </i>French tr. by de Piles <a href="http://books.google.com/books?id=M8bWMKpTEsMC&dq=L%27art+de+peinture+fresnoy&hl=it&source=gbs_navlinks_s" target="_blank">1668</a><br />
<i> </i>English tr. by Dryden <a href="http://books.google.com/books?id=490rAQAAMAAJ&dq=roger+de+piles&hl=it&source=gbs_navlinks_s" target="_blank">1695</a>, tr. by William Mason <a href="http://books.google.com/books?id=MHtaAAAAYAAJ&dq=dryden+du+fresnoy&hl=it&source=gbs_navlinks_s" target="_blank">1783</a><br />
* <b>Bosse</b>, Abraham 1602-1676. <i>Traicté des manieres de graver en taille douce sur
l'airin. Par le Moyen des Eauxs Fortes, & des Vernix Durs &
Mols. Ensemble de la façon d'en Imprimer les Planches, & d'en
Construire la Presse, & autres choses concernans lesdits Arts. Par
A. Bosse, Graveur en Taille Douce.</i> Paris, 1645<br />
(This is a printmaking treatise, but Jombert advised it to drawing students wanting detailed advice on hatching) <br />
French, e-book, <a href="https://archive.org/details/traictdesmaniere00boss" target="_blank">1645</a><br />
* <b>de Piles</b>, Roger 1635-1709. <i>Les premiers élémens de la peinture pratique</i>.<br />
French, e-book <a href="http://books.google.com/books?id=VzZBAAAAcAAJ&dq=roger+de+piles&hl=it&source=gbs_navlinks_s" target="_blank">1684</a><br />
English, my own translation of <a href="http://www.lalaragimov.com/r/rogerdepiles" target="_blank">pp 9-33</a><br />
French, e-book, expanded posthumous edition <a href="http://books.google.com/books?id=1_s7xMRDFmoC&dq=elements+de+peinture+pratique&hl=it&source=gbs_navlinks_s" target="_blank">1766 </a><br />
* <b>Jombert</b>, Charles-Antoine 1712-1784.<br />
<i><i>Nouvelle Methode pour apprendre a dessiner sans maitre. </i></i><br />
French,<i> </i>e-book,<i> </i><a href="http://books.google.com/books?id=btROAAAAcAAJ" target="_blank">1740</a><br />
<i>Methode pour apprendre le dessein.</i><br />
French, e-book, <a href="http://books.google.com/books?id=j_VAAAAAcAAJ" target="_blank">1755</a><br />
English, my translation of some <a href="http://lalaragimov.blogspot.com/2013/12/jombert-drawing-treatise-notes.html" target="_blank">excerpts</a><br />
<br />
<br />
<u>English Treatises </u><br />
<br />
* <b>Peacham</b>, Henry 1578-1644?. <i>The gentlemans exercise, or, An exquisite practise : as well for drawing all manner of...</i><br />
<i> </i>English<i>, </i>Getty e-book, <a href="https://archive.org/details/gri_33125008547412" target="_blank">1634</a> <span style="color: #3d85c6;">NEW</span><br />
* <b>Bate</b>, John. <i>The Mysteryes of Nature and Art.</i><b> </b><br />
<b> </b>English, links to <a href="http://hdl.loc.gov/loc.rbc/rosenwald.1480.2" target="_blank">pdf </a>and <a href="http://hdl.loc.gov/loc.rbc/rosenwald.1480.1" target="_blank">jpg</a> versions at the end of the page about this <a href="http://publicdomainreview.org/2011/11/28/the-mysteries-of-nature-and-art/" target="_blank">1634</a> book<br />
* <b>Jenner</b>, Thomas (active 1631-1656). <i>A Book of Drawing, Limning, Washing or Colouring of Maps and Prints: and the Art of Painting, with the Names and Mixtures of Colours used by the Picture-Drawers. Or, The Young-mans Time well Spent</i>.<br />
English, info and pdf of this <a href="http://www.shipbrook.net/jeff/bookshelf/details.html?bookid=13" target="_blank">1652</a> book<br />
* <b>Sanderson</b>, William 1586?-1676. <i>Graphice, the use of the pen and pensil, or, The most excellent art of painting : in two parts </i><br />
English, e-book, <a href="https://archive.org/details/graphiceuseofpen00sand" target="_blank">1658</a><br />
* <b>Ratcliffe</b>, Thomas, Daniel, Thomas (printers) Newman, Dorman, Jones, Richard (booksellers) <i>The excellency of the pen and pencil</i>...<br />
English, e-books: <a href="https://archive.org/details/excellencyofpenp00ratc" target="_blank">1668</a>, <a href="https://archive.org/details/excellencyofpenp00lond" target="_blank">1688</a><br />
* <b>Browne</b>, Alexander 1660-1677. (translations and borrowings from other authors) <i>Ars pictoria: or, An academy treating of drawing, painting, limning and etching...</i><br />
English, e-book, <a href="https://archive.org/details/gri_arspictoriao00brow" target="_blank">1669 </a><br />
* <b>Salmon</b>, William 1644-1713. <i>Polygraphice, or, The arts of drawing, engraving, etching, limning, painting, vernishing, japaning, gilding, &c </i> <br />
English, e-books: <a href="https://archive.org/details/polygraphiceorar00salm" target="_blank">1685</a>, <a href="https://archive.org/details/polygraphiceor00salm" target="_blank">1701</a><br />
<br />
<br />
<u>German Treatises</u><br />
<br />
* <b>Fürst</b>, Paul <i>Theoria Artis Pictoriae.</i> A text with a compilation of prints from Italian drawing books<br />
German, with an informative introduction (2009), <a href="http://archiv.ub.uni-heidelberg.de/artdok/787/1/Pfisterer_Fontes36.pdf" target="_blank">1656</a>, pdf (Heidelberg University)<br />
* <b>Preissler</b>, Johann Daniel. <i>Die durch Theorie erfundene Practic, oder Gründlich-verfasste Reguln,
derer man sich als einer Anleitung zu berühmter Künstlere
Zeichen-Wercken bestens bedienen kan</i>..<br />
German, four Volumes 1761-1663 <a href="http://digi.ub.uni-heidelberg.de/diglit/preissler1762ga?ui_lang=eng" target="_blank">e-books</a> (Heidelberg University)<br />
* <b>Herzberg</b>, Friedrich. <i>Anleitung zum gründlichen Unterricht in der Handzeichungskunst für Anfänger.</i><br />
German, e-book <a href="https://archive.org/details/gri_33125011188535" target="_blank">1780</a> (Getty) <span style="color: red;"><span style="color: black;"><span style="color: #3d85c6;">NEW</span></span></span><br />
<br />
<u>Spanish Treatises</u><br />
<br />
* <b>Pacheco</b>, Francisco. <i>Arte de la pintura.</i><br />
Spanish, e-book, <a href="http://books.google.com/books?id=iJRGCke79YUC&dq=del+arte+de+la+pintura+pacheco&hl=it&source=gbs_navlinks_s" target="_blank">1649 </a><br />
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<a href="http://3.bp.blogspot.com/-bABMGlkoSKY/UpZppNrbz0I/AAAAAAAAAoQ/ngX-HhBKZCs/s1600/Jombert+planche+18.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-bABMGlkoSKY/UpZppNrbz0I/AAAAAAAAAoQ/ngX-HhBKZCs/s200/Jombert+planche+18.jpg" height="200" width="142" /></a></div>
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<a href="http://books.google.com/books?id=btROAAAAcAAJ" target="_blank">Jombert</a>, 1740</div>
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* * *<br />
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<h2 style="text-align: left;">
<span style="font-size: small;"><b><u>Drawing books, Anatomies, Proportion books, etc.</u></b>:</span></h2>
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* For <b>anatomy books</b> see <a href="http://www.nlm.nih.gov/exhibition/historicalanatomies/browse.html" target="_blank">THIS</a> great resource (Historical Anatomies)<br />
also see <b>Tortebat</b>, François. <i>Traité d'anatomie appliquée aux beaux-arts</i>. <a href="http://catalog.hathitrust.org/Record/001989481" target="_blank">1667-8</a> ("full view")</div>
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<span style="font-weight: normal;">* <b>Dü</b></span><b>rer</b>, Albrecht <span style="font-weight: normal;">1471-1528.</span> <b><span style="font-weight: normal;"><i> </i></span></b><br />
<b><span style="font-weight: normal;"><i>Vier Bücher von menschlicher Proportion</i></span></b>.<b> </b><a href="http://www.nlm.nih.gov/exhibition/historicalanatomies/durer_home.html" target="_blank">1528</a> jpgs<br />
<i>Della simmetria dei corpi humani</i>, <i>Libri Quattro</i>. e-book <a href="http://books.google.com/books/about/Di_Alberto_Durero_Della_simmetria_dei_co.html?id=aJ_qg77FfkYC" target="_blank">1594 </a><br />
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* <b>Palma</b> il Giovane, Jacopo 1544-1628.<br />
<i>Regole per imparar a disegnare i corpi humani diuise in doi libri delineati dal famoso pittor Giacomo Palma, </i>lombardiabeniculturali.it, <a href="http://www.lombardiabeniculturali.it/ricerca/?q=Regole+per+imparar+a+disegnare+i+corpi+humani+diuise+in+doi+libri+delineati+dal+famoso+pittor+Giacomo+Palma" target="_blank">jpgs</a><br />
<i>Principi del disegno/ Principles of drawing</i> Harvardartmuseums.org , <a href="http://www.harvardartmuseums.org/art/search?search_api_aggregation_1=&field_artist_search=Jacopo%20Palma%20Giovane&field_title_search=&field_artist_search_1=&field_title_search_1=&field_object_number=&field_date_begin=&field_date_end=&field_department=&field_classification=&field_technique=&field_century=&field_period=&field_culture=&field_creation_place=&field_subject=&field_on_view=0&field_has_image=0" target="_blank">jpgs</a></div>
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* <b>Fialetti</b>, Odoardo 1573-1638. <i> </i></div>
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<i>Tutte le parti del corpo hvmano diuiso in piu pezzi</i>. e-book <a href="https://archive.org/details/tuttelepartidelc00fial" target="_blank">1608</a><br />
<i>Il vero modo et ordine per dissegnar tutte le parti et membra del corpo humano.</i> e-book <a href="https://archive.org/details/lepartidelcorpo00fial" target="_blank">1608</a><br />
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* <b>Cousin</b>, Jehan le Jeune 1522-1593. <i> </i><br />
<i>Livre de pourtraiture</i> jpgs <a href="http://www.nlm.nih.gov/exhibition/historicalanatomies/cousin_home.html" target="_blank">1608</a>,<br />
<i>La vraye science de la pourtraicture</i>, e-book <a href="https://archive.org/details/lavrayesciencede00cous" target="_blank">1671</a> </div>
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* after<b> Carracci</b> (prints by Luca Ciamberlano, etc) <i>Scvola perfetta per imparare a disegnare tutto il corpo humano / cauata dallo studio, e disegni de Caracci.</i> (1600-1630)<br />
Getty Research Institute <a href="http://archive.org/details/gri_33125009488004" target="_blank">e-book</a><span style="color: red;"><span style="color: black;"><span style="color: #3d85c6;"> NEW</span></span></span><br />
British Museum - individual <a href="http://www.britishmuseum.org/research/collection_online/search.aspx?searchText=carracci+ciamberlano&images=true" target="_blank">jpgs</a><br />
<br />
* after <b>Guercino</b> (prints by Olivero Gatti c 1620, Francesco Curti 1635-40) drawing book pages (parts of the face, body parts, figures, heads), British Museum - <a href="http://www.britishmuseum.org/research/collection_online/search.aspx?searchText=guercino+drawing+book" target="_blank">jpgs</a><br />
<br />
* <b>de Ribera</b>, Jusepe. 1622 etchings, Harvard <a href="http://www.harvardartmuseums.org/art/search?search_api_aggregation_1=&field_artist_search=Jusepe%20de%20Ribera&field_title_search=&field_artist_search_1=&field_title_search_1=&field_object_number=&field_date_begin=&field_date_end=&field_department=&field_classification=&field_technique=&field_century=&field_period=&field_culture=&field_creation_place=&field_subject=&field_on_view=0&field_has_image=0&page=1" target="_blank">jpgs</a><br />
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* <b>Bracelli</b>, G. B. 1624, not a real drawing book, but does demonstrate figure construction basics in a fun way, so I imagine it could have been used by students, <a href="http://www.spamula.net/blog/2005/08/bracelli.html" target="_blank">here </a><br />
<br />
* after <b>Rubens 1577-1640.</b><br />
Drawing book sheets from 1630. British Museum, <a href="http://www.britishmuseum.org/research/collection_online/search.aspx?searchText=%22Drawing+book+after+Rubens%22&images=true" target="_blank">jpgs</a>;<br />
de Ganay manuscript <a href="http://www.collectieantwerpen.be/component/option,com_memorix/Itemid,2/lang,en/" target="_blank">jpgs</a> 1600s (after 1640) - write "de Ganay" in image search</div>
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<br />
* <b>della Bella</b>, Stefano. <i> </i><br />
<i>I principii del disegno</i>. 1640s. British Museum <a href="http://www.britishmuseum.org/research/collection_online/search.aspx?searchText=i+principii+del+disegno" target="_blank">jpgs</a><i> , </i>1824<i> </i>ed. (see description), GRI, <a href="http://archive.org/details/gri_33125008463834" target="_blank">e-book</a> <span style="color: red;"><span style="color: black;"><span style="color: #3d85c6;">NEW</span></span></span><br />
<i>Recueil de diverses pieces Servant à l'Art de portraiture</i>. 1645-50. British Museum <a href="http://www.britishmuseum.org/research/collection_online/search.aspx?searchText=recueil+de+diverses+pieces" target="_blank">jpgs </a><br />
<i>Diverses testes et figures</i>. 1650 British Museum <a href="http://www.britishmuseum.org/research/collection_online/search.aspx?searchText=Diverses+Testes+&+Figures" target="_blank">jpgs </a><br />
<i>Livre pour apprendre a dessiner</i>. 1647-52. British Museum <a href="http://www.britishmuseum.org/research/collection_online/search.aspx?searchText=livre+pour+apprendre+a+dessiner+bella" target="_blank">jpgs</a><br />
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* <b>Bloemaert</b>, Abraham (after), Frederik. <i>Het Tekenboek</i>. 1650-56,<br />
Getty Research Institute <a href="http://hdl.handle.net/10020/85b13664" target="_blank">e-book</a><span style="color: red;"><span style="color: black;"> <span style="color: #3d85c6;">NEW</span>;</span></span> British Museum <a href="http://www.britishmuseum.org/research/collection_online/search.aspx?searchText=Het+Tekenboek&images=true" target="_blank">jpgs</a><br />
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* <b>Fuller</b>, Isaak. <i>Un libro da designiare</i>. Publisher Peter Stent 1654 British Museum <a href="http://www.britishmuseum.org/research/collection_online/search.aspx?searchText=Un+libro+da+designiare&images=true" target="_blank">jpgs</a></div>
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*<b> Pesne</b>, Jean, 1623-1700; <b>Audran</b>; <b>Poussin</b>. <i>Livre pour aprendre à désigner avec les proportions des parties qui ont esté choisie dans les ouvrages de N. Poussin</i>. <a href="http://hdl.handle.net/10020/2003pr148" target="_blank">1680</a> pdf</div>
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* <b>Jabach</b>, Everhard 1618-1695. <i>Recueil de 283. estampes gravées à l'eau forte par les plus habiles peintres du tems, d'apres les desseins des grands maitres, que possedoit autrefois M. Jabach et qui depuis on passé au cabinet du roy.</i> <a href="http://primo.getty.edu/primo_library/libweb/action/dlDisplay.do?vid=GRI&afterPDS=true&institution=01GRI&docId=GETTY_DTL5715942" target="_blank">e-book</a></div>
<div style="text-align: left;">
<br />
* <b>Testelin</b>, Henri, 1616-1695 <i>Sentimens des plus habiles peintres du tems, sur la pratique de la peinture et sculpture : recueillis & mis en tables de preceptes, avec six discours academiques, extraits des conferences tenuës en l'Academie Royale desdits arts ... par Henry Testelin, peintre du roi, professeur & secretaire en ladite Academie. </i>e-book, <a href="https://archive.org/details/gri_sentimensdes00test" target="_blank">1680</a></div>
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<br /></div>
<div style="text-align: left;">
* <b>Audran</b>, Girard 1640-1703. <i>Les proportions du corps humain : mesurées sur les plus belles figures de l'antiquité</i> <a href="https://archive.org/details/gri_proportionsd00audr" target="_blank">1683</a> </div>
<div style="text-align: left;">
<br />
* <b>Le Clerc</b>, Sébastien 1637-1714. <i>Pricipes de dessein / Divers habillemens des anciens grecs et romains</i> <a href="https://archive.org/details/principesdedesse00lecl" target="_blank">1700</a><br />
<br />
* <b>van Somer</b>, Paul. <i>Figurae variae</i>. 1675-1714 drawing book prints <a href="http://www.britishmuseum.org/research/collection_online/search.aspx?searchText=figurae+variae+somer" target="_blank">jpgs</a> British Museum</div>
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<div style="text-align: left;">
* <b>Le Brun</b>, Charles<i> </i>1619-1690<i>.</i><br />
<i>Méthode pour apprendre à dessiner les passions: proposée dans une conférence sur l'expression générale et particulière</i>. e-book <a href="https://archive.org/details/mthodepourappren00lebr" target="_blank">1702</a><br />
(after le Brun)<i> Caracteres des passions, sur le desseins de C. le Brun</i> e-book <a href="https://archive.org/details/caracteresdespas00lebr" target="_blank">1750</a><br />
<br />
* <b>Huet</b>, Jean-Baptiste<i> </i>1745–1811.<i> Premier[-dix-huitiéme] cahier de fragmens et de principes de desseins de tous les genres... </i>Getty e-book <a href="http://hdl.handle.net/10020/1360_525" target="_blank">1778</a><span style="color: red;"> <span style="color: #3d85c6;">NEW</span></span><br />
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<div style="text-align: center;">
<a href="http://www.britishmuseum.org/collectionimages/AN00066/AN00066216_001_l.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.britishmuseum.org/collectionimages/AN00066/AN00066216_001_l.jpg" height="310" width="320" /></a> </div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;">Stefano della Bella, <i>Recueil de diverses pieces Servant à l'art de portraiture</i>. <a href="http://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?assetId=66216&objectId=1486748&partId=1" target="_blank">British Museum</a></span></div>
</div>
<br />
<div style="text-align: center;">
***</div>
<div style="text-align: center;">
<br />
<span style="font-size: small;">compiled by Lala Ragimov </span> </div>
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Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0tag:blogger.com,1999:blog-6001526527421606435.post-26723020147718211712013-06-16T21:52:00.001-07:002014-02-17T23:45:52.391-08:00Intaglio prints<div dir="ltr" style="text-align: left;" trbidi="on">
(for my relief print experiments and a search for renaissance tools see <a href="http://lalaragimov.blogspot.com/2013/01/unsupervised-printmaking-experiments.html" target="_blank">HERE</a>)<br />
<br />
My first prints on copper<br />
Drypoint "Disegno e Colore" - my take on a Baroque allegory of the roles of Drawing and Colour where Drawing is usually depicted as a studious old man and Colour as a lively sensuous young woman (an example <a href="http://blogs.getty.edu/iris/question-of-the-week-what-makes-a-painting-a-masterpiece/" target="_blank">here</a> by Guercino (the Getty)). <br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-DGp00r-Iju4/Ub6OPYMXUOI/AAAAAAAAAj0/JNHiZHIxGew/s1600/disegnocolore.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-DGp00r-Iju4/Ub6OPYMXUOI/AAAAAAAAAj0/JNHiZHIxGew/s400/disegnocolore.jpg" height="400" width="285" /></a></div>
<br />
My second print was an etching with drypoint and engraving of a woman thinking.<br />
<br />
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<a href="http://3.bp.blogspot.com/-6odSChy5hKs/Ucvf_4SpkjI/AAAAAAAAAk8/nwLGlARgdkk/s1600/womanthinking.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-6odSChy5hKs/Ucvf_4SpkjI/AAAAAAAAAk8/nwLGlARgdkk/s400/womanthinking.jpg" height="400" width="307" /></a></div>
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</div>
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Amor and Psyche, etching, drypoint, burin. Rives BFK paper cream.<br />
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<a href="http://4.bp.blogspot.com/-VTEiqMoqwCA/Ucvi5RZwxII/AAAAAAAAAlM/Wv6YjE3AG5A/s1600/amorpsyche2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-VTEiqMoqwCA/Ucvi5RZwxII/AAAAAAAAAlM/Wv6YjE3AG5A/s320/amorpsyche2.jpg" height="320" width="301" /></a></div>
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Here is a photo I took of the freshly etched plate itself (first state) in a bath with the copper gleaming through the smoked hard ground. Those colours looked delicious...<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://sphotos-a.xx.fbcdn.net/hphotos-ash3/263238_534475986611051_1352111424_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://sphotos-a.xx.fbcdn.net/hphotos-ash3/263238_534475986611051_1352111424_n.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">from <a href="https://www.facebook.com/photo.php?fbid=534475986611051&set=a.317127651679220.73486.143161962409124&type=1&theater" target="_blank">HERE</a></td></tr>
</tbody></table>
<br />
And finally an etching with drypoint, based on Marvell's <a href="http://www.luminarium.org/sevenlit/marvell/coy.htm" target="_blank">"To His Coy Mistress"</a> <i>carpe diem</i> poem, but with roles reversed<br />
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<a href="http://2.bp.blogspot.com/-qSOIw7xcu7U/Ub6UKKYYnXI/AAAAAAAAAkU/52LyK6SkCFc/s1600/if+we+had+world+enough+and+time.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-qSOIw7xcu7U/Ub6UKKYYnXI/AAAAAAAAAkU/52LyK6SkCFc/s400/if+we+had+world+enough+and+time.jpg" height="327" width="400" /></a></div>
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Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com2tag:blogger.com,1999:blog-6001526527421606435.post-37909878939687461382013-03-25T16:19:00.001-07:002015-01-14T00:40:45.543-08:00Copying a Rubens drawing<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: center;">
<span style="font-size: x-small;">My other posts on topics related to technical art history:</span><br />
<span style="font-size: x-small;"><span style="font-size: x-small;"><a href="http://lalaragimov.blogspot.com/2013/02/copying-rubens.html" target="_blank">
Copying a Rubens painting (materials, techniques)</a></span> </span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><a href="http://goo.gl/wFDxf" target="_blank">Inspired
by Rubens</a> (Getty Museum page, featuring my work) </span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><a href="http://lalaragimov.blogspot.com/2014/02/preparingtodraw.html" target="_blank">Preparing to draw (from 1400s-1700s treatises)</a></span> <br />
<span style="font-size: x-small;"><a href="http://lalaragimov.blogspot.com/2014/01/hatching.html" target="_blank">Hatching</a><a href="http://lalaragimov.blogspot.com/2014/01/hatching.html" target="_blank"> and shading (from 1400s-1700s treatises)</a></span></div>
<div style="text-align: center;">
<span style="font-family: inherit; font-size: x-small;"><a href="http://lalaragimov.blogspot.com/p/blog-page.html">English translations of drawing treatises (Goeree, de Piles, Jombert)</a> </span><span style="font-size: x-small;"> </span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><a href="http://lalaragimov.blogspot.com/2013/11/treatises.html" target="_blank"> 1400s-1700s drawing
treatises online </a></span><br />
<span style="font-size: x-small;"> <a href="http://www.lalaragimov.com/research" target="_blank">Painting materials of Rubens, with
bibliography </a><a href="http://lalaragimov.blogspot.com/2013/02/copying-rubens.html" target="_blank"> </a></span><br />
<span style="font-size: x-small;"><a href="http://lalaragimov.blogspot.com/2013/01/unsupervised-printmaking-experiments.html" target="_blank"> Renaissance woodcut tools</a></span><br />
<span style="font-size: x-small;"><a href="http://www.lalaragimov.com/copies" target="_blank"> Image gallery: my copies and reconstructions</a></span></div>
<br />
(for more photos of my copies and process see this <a href="http://goo.gl/wFDxf" target="_blank">Getty Museum page</a> where I was featured)<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-tSbB3vOZefg/UVPq0DDY3lI/AAAAAAAAAfY/W5DEuUe7asE/s1600/koreanragimov.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-tSbB3vOZefg/UVPq0DDY3lI/AAAAAAAAAfY/W5DEuUe7asE/s320/koreanragimov.jpg" height="320" width="194" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Copy after Rubens. Original <a href="http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=58&handle=zm#" target="_blank">HERE</a></td></tr>
</tbody></table>
<br />
The "Man in Korean Costume" was on display at the Getty at a beautiful exhibition called <a href="http://www.getty.edu/art/exhibitions/looking_east/" target="_blank">Looking East: Rubens's Encounter with Asia</a>. I started copying the drawing to scale directly from the original at the gallery, but soon realised that the details of this piece are so minute they can only be seen with a magnifying glass, so I ended up copying it from the Getty's very helpful <a href="http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=58&handle=zm#" target="_blank">zoom view page</a>. Afterwards I took the drawing back to the gallery, put it side by side with the original, corrected some value relationships, added accents and other details.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.lalaragimov.com/art/korean.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://www.lalaragimov.com/art/korean.jpg" height="211" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1) marking the position of the figure with willow charcoal (mostly removed in step 2)<br />
2) blocking in the main contours and
flat areas of shadow with my black chalk substitute <br />
(compressed charcoal) and black chalk<br />
3) finishing the drawing with
details, cross-hatching, red chalk and dark accents</td><td class="tr-caption" style="text-align: center;"></td></tr>
</tbody></table>
<br />
The use of willow or vine charcoal for the first few lines of the underdrawing (that was later removed with an eraser made of bread) is historic practice. The 1634 Third Book of "The Mysteries of Nature and Art" says that when you finish your sketch with ash, sallow or beech charcoal and "you can finde no great fault in it: wipe it over gently with your wing, so that you may perceive the former strokes then with your blacke chalke, or blacke lead plummets; draw it as perfectly, and as curiously as you can" (p104). The book is downloadable <a href="http://goo.gl/CxaF4I" target="_blank">HERE</a>.<br />
A similar procedure is described in Cennini, in Willem Goeree's treatise of 1668, Gerard de Lairesse's treatise of 1701 (in French <a href="http://books.google.com/books?id=W2_G9c0x7ngC&pg=PA1&dq=principes+du+dessin+lairesse&hl=it&sa=X&ei=Gb4EUsbeOOH8iwKgjIDgCw&ved=0CD0Q6AEwAg#v=onepage&q=principes%20du%20dessin%20lairesse&f=false" target="_blank">HERE</a>), and many others (see my <a href="http://lalaragimov.blogspot.com/2013/11/treatises.html" target="_blank">Online drawing treatises directory</a>) Rubens, being a genius draughtsman, probably didn't resort to a charcoal underdrawing, but since it's convenient, historic, and doesn't affect the final look, I used it (after writing this blog I heard from Nancy Yocco, a conservator at the Getty
who confirmed not noticing traces of charcoal in Rubens drawings she
studied).<br />
My real departure from the historic materials in this copy was in the use of a hard compressed charcoal pencil in conjunction with black chalk. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-PWBtsh7dKHo/UVDOHDYSTpI/AAAAAAAAAec/B8ToO4P1eio/s1600/materials.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-PWBtsh7dKHo/UVDOHDYSTpI/AAAAAAAAAec/B8ToO4P1eio/s400/materials.jpg" height="210" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Types of drawing media used by Rubens and other Baroque artists.<br />
(Elba sanguine from <a href="http://zecchi.it/" target="_blank">Zecchi</a> and Ural sanguine from <a href="http://sienna.ru/eng.htm" target="_blank">Rublevskaya palitra</a>,<br />
French black chalk and Champagne white chalk from <a href="http://kremerpigments.com/" target="_blank">Kremer</a>) </td></tr>
</tbody></table>
<br />
<div style="text-align: center;">
***</div>
Rubens used only black and red chalk in the "Man in Korean Costume". Examples of his use of more drawing media are the portraits of Isabella Brant and Nicolaas Rubens. The originals are<i> </i>"<i>aux trois crayons</i>" (black red and white chalk on cream paper) drawings with pen and ink accents. For another one of my <i>aux trois crayons</i> with ink copies see this blog post <a href="http://lalaragimov.blogspot.com/2013/02/copying-rubens.html">http://lalaragimov.blogspot.com/2013/02/copying-rubens.html</a><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-M-qKfT44Y9E/UXccAOZSbQI/AAAAAAAAAfw/0Mgshx0C9zs/s1600/nicolaascopylalaragimovrubens.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-M-qKfT44Y9E/UXccAOZSbQI/AAAAAAAAAfw/0Mgshx0C9zs/s320/nicolaascopylalaragimovrubens.jpg" height="320" width="258" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Copy</b> after <a href="http://www.googleartproject.com/it/collection/albertina-vienna/artwork/nicolaas-rubens-wearing-a-coral-neckless-c-1619-peter-paul-rubens/473007/" target="_blank">Nicolaas Rubens with a Coral Necklace</a><br />
Genuine black chalk (French), genuine sanguine (Ural),<br />
Champagne white chalk, pen and bistre ink,<br />
Canson Ingres paper cream.</td></tr>
</tbody></table>
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.lalaragimov.com/art/rubensisabellacopy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://www.lalaragimov.com/art/rubensisabellacopy.jpg" height="320" width="232" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Copy</b> after the <a href="http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=711847&partid=1" target="_blank">Portrait of Isabella Brant</a><br />
genuine sanguine (Zecchi), compressed charcoal,<br />
white chalk, pen and ink, Hahnemühle Ingres paper</td></tr>
</tbody></table>
<div style="text-align: center;">
<div style="text-align: left;">
<br /></div>
***</div>
An aside about genuine black chalk and its modern substitutes:<br />
<br />
Black chalk is a luscious medium with a vivid personality and a temper. With it it's possible to get both a defined line and a fuzzy light hatch-mark depending on the pressure you apply. It has a cool greyish tone especially important when used in combination with red chalk because it represents all the cool colours while the red chalk takes on the role of all the warm tones.<br />
<br />
The
material currently available (mined in France and sold by Kremer Pigments) is very expensive with some inclusions that don't produce any marks. I've read many times that the deposits of good
black chalk have all been exhausted, but I'm sure they still exist in
various parts of the world and are not explored only because there is
no demand. <br />
<br />
Currently there is no good substitute of black chalk on the market. Derwent charcoal pencils (Hard) have the same cool grey tone, but are very soft and powdery, very unlike the genuine material. General's charcoal HB is similar to the chalk in hardness but is too scratchy and black. Pierre Noire by Conte is close, but too waxy, Wolf's Carbon B is too black and chronically inexpressive.<br />
If anyone has a good suggestion for a substitute or a place where I may buy or dig up some real black chalk, please let me know!<br />
<br />
<br />
<span class="st">©</span>Lala Ragimov<br />
<span style="font-size: small;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-size: small;">My other posts on topics related to technical art history:</span></div>
<div style="text-align: center;">
<span style="font-size: small;"><a href="http://goo.gl/wFDxf" target="_blank">Inspired
by Rubens</a> (Getty Museum page, featuring my work) </span></div>
<div style="text-align: center;">
<span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/2014/02/preparingtodraw.html" target="_blank">Preparing to draw (from 1400s-1700s treatises)</a> </span><br />
<span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/2014/01/hatching.html" target="_blank">Hatching</a><a href="http://lalaragimov.blogspot.com/2014/01/hatching.html" target="_blank"> and shading (from 1400s-1700s treatises)</a></span></div>
<div style="text-align: center;">
<span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/2013/02/copying-rubens.html" target="_blank">
Copying a Rubens painting (materials, techniques)</a></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/p/blog-page.html">English translations of drawing treatises (Goeree, de Piles, Jombert)</a></span> </span></span> </span></div>
<div style="text-align: center;">
<span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/2013/11/treatises.html" target="_blank"> 1400s-1700s drawing
treatises online </a></span><br />
<span style="font-size: small;"> <a href="http://www.lalaragimov.com/research" target="_blank">Painting materials of Rubens, with
bibliography </a><a href="http://lalaragimov.blogspot.com/2013/02/copying-rubens.html" target="_blank"> </a></span><br />
<span style="font-size: small;"><a href="http://lalaragimov.blogspot.com/2013/01/unsupervised-printmaking-experiments.html" target="_blank"> Renaissance woodcut tools</a></span><br />
<span style="font-size: small;"><a href="http://www.lalaragimov.com/copies" target="_blank"> Image gallery: my copies and reconstructions</a></span></div>
<div style="text-align: center;">
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</div>
Lala Ragimovhttp://www.blogger.com/profile/03359526557117618813noreply@blogger.com0