GOEREE, Willem, An Introduction to the general Art of Drawing, Wherein is set forth The Grounds and Properties, which of this infallible and judicious Art are necessary to be known and understood. Being not only Profitable unto them that Practise Drawing; Picture-Drawers, Engravers, Carvers, Stone-Cutters, Jewellers, Goldsmiths, Silversmiths, &c. But also to all Lovers and well-affected, as well to this as to other ARTS (flowing from thence) a commodious Knowledge Communicated: With an Illustration of twenty five Copper-Prints of Figures, for young Learners to practise by. Likewise, 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. Formerly set out by that Excellent Limner Mr. Gerhard of Brugge. And now much Augmented and Amended, with some Observations, teaching (besides Illumination) the Colouring and Painting with Water-Colours. Set forth at Middleburgh by W. GORE. Truly Translated into English by J.L. Published by Robert Pricke for the Lovers and Practitioners of this Noble and Admirable Art, London, Robert Pricke, 1674.

National Art Library, Victoria and Albert Museum London 86.U.152 Images hors-texte
notes on the author
Willem Goeree (Middelburg 1635 – Amsterdam 1711) was the son of the prominent physician and theologian Hugo Willem Goeree. In 1665 he married Elisabeth Janssonius van Waesberge, daughter of the important Amsterdam publisher Johannes Janssonius van Waesberge. At the time of his marriage, he was a bookseller and initially his Middelburg bookshop functioned as a branch of his father-in-law’s publishing house. Amongst their collaborative publications we find a re-edition of Franciscus Junius’ Schilderkunst der Ouden (Begin, heerlijcke voortgangh. en grootdadigh vermogen der wijdberoemde schilderkonst der antycken, 1675). After his marriage, Willem Goeree started to publish books himself. In 1680, the couple moved to Amsterdam and Goeree collaborated more closely with his father-in-law. However, in 1681 Johannes Janssonius van Waesberge died, as did Goeree’s wife in 1683 and the relationship with his brothers-in-law soon grew bad and all collaboration ended. Willem Goeree’s son Jan (1670-1731) studied with Gerard de Lairesse and became a draughtsman and engraver. He produced many illustrations and frontispieces for books. His other two sons Willem and David continued the Goeree publishing house after their father’s death until 1732. [For more information on Goeree’s life and work as a publisher, see: KWAKKELSTEIN, 1998.]
            As an author, Goeree published on art and (the history of) religion. In 1668, he published Verlichterie-kunde of recht gebruyck der water-verwen. The book was bounded in the same volume as the Inleydinge tot de Al-ghemeene Teycken-Konst, also written by Goeree. In 1670, the Inleydingh tot de practijck der al-gemeene Schilder-Konst followed. Willem Goeree had the intention to write a six-volume magnum opus on the Art of Painting. In the preface to the reader in the Inleydingh tot de practijck der al-gemeene Schilder-konst of 1670, he writes that, apart from the volumes on Drawing and Painting, this book – which he calls “onse geheele Schilderkonst” –  would consist of books on Perspective, Anatomy, Architecture, Composition and Invention (“Ordineeringh and Inventeeringh”) and Light and Colour (“…de kracht en Eygenschap der schaduwen, dagen, reflexien en houdinge en wat verder in ‘t coloreeren waer te nemen state, door Wiskundige figueren te betoogen”) and was intended to assist and improve artistic instruction. The Verlichterie-kunde was not part of this series. Only two of the envisioned other volumes were published: one on Architecture (d’Algemeene Bouwkunde volgens d’Antyke en Hedendaagse Manier, 1681) and the other on Anatomy (Natuurlyk en Schilderkonstig Ontwerp der Menschkunde, 1682). Goeree stated in the latter that he had written the volume on composition, but it was never published. 

The Inleydinge tot de Al-ghemeene Teycken-Konst was first published in 1668 in Middelburg. Two years later, Goeree published a second edition. For this edition, the text is enlarged, re-organized and considerably richer. Goeree added many references and citations to ancient authors, likely mainly with the use of Franciscus Junius’ Schilderkonst der Oude (1641). The book had three other editions (1697, 1705 and 1739). The first edition of 1668 was bound together with Goeree’s Verlichterie-kunde
            Within a few years of tis first publication, the book appeared in English (1674, based on the first Dutch edition) and German. The first German translation, based on the first Dutch edition, appeared in 1669 (translated by Philip von Zesen), a second German translation, based on the second Dutch edition, was published in 1677 (translated by Johann Langen).
            Goeree discusses the Art of Drawing as an important part of the instruction of painters. The treatise is very practical in nature. The book is divided into eleven chapters, discussing different elements and levels of the instruction. [For a detailed description of the text, see KWAKKELSTEIN, 1998.]
practical notes
A suggested translation of the selected citations is added for the convenience of the database user who might not be familiar with the Dutch language. Please note that this should by no means serve as a definite translation, it is a work in progress.
The analysis is based on the second Dutch edition of 1670, instead of the first edition of 1668. The reason for this decision is both scientific (Goeree revised the first edition) and practical (the availability of a digitized version). For the analysis of the translations, we have worked with the only English translation (1674), which was likely based on the first Dutch edition (1668) and bound together with a translation of Goeree’s Verlichterie-kunde. For the German, the analysis is based on the second edition of 1677 and not the first of 1669. The edition of 1677 was based on the second Dutch edition and was bound together with the translation of the Verlichterie-kunde and Schilder-konst
The PDF Is not available in the LexArt database, but only via Early English Books Online(EEBO).

Marije Osnabrugge: analysis of the text, selection of citations and terms, translation of citations into English, practical elaboration
in-4 english

To the Lovers and well-affected to the Art of Drawing

- The Epistle Dedicatory: To the Lovers and well-affected to the Art of Drawing, p. *1-*2
- Chapter 1: What the Art of Drawing is, and in what it doth consist, p. 1-5
- Chapter II: The first beginning of the Art of Drawing, p. 5-8
- Chapter III: Of the Order and Manner to be Observed in the Art of Drawing, p. 9-11
- Chapter IV: Of those things which in every degree of the Art of Drawing are to be observed, p. 11-14
- Chapter V: Of the things which in the thrid Step, viz. in Drawing after Plaister-Rounds, or Embossed Works, are necessary to be observed, p. 14-15
- Chapter VI: Of the Anatomie, or Knowledge of the inward and outward forme of the Humane body, concerning Muscles and Motions of the Arteries, p. 15-17
- Chapter VII: Of those things, which in drawing after the life, are necessarie to be observed and understood, p. 17-20
- Chapter VIII: Of the several sorts of Chalks and Crions for the Use of Drawing, and upon what they are to be used, p. 20-22
- Chapter IX: Of the Use and Mannder of Drawing, p. 22-24
- Chapter X: Of the General and his Parts, and how they must be understood and observed, p. 24-26
- Chapter XI: What light and shadows be, and how thorow the same all things come to have their being, p. 26-27
- Chapter XII: Of the Plain, smooth, sharp, and sweet drawing, p. 27-28
- Chapter XIII: Of the Heightenings, p. 28
- Chapter XIV: Of the Reflection, p. 28-29
- Chapter XV: Of the Observation of Perspective of light and dark, p. 29-30
- Chapter XVI: Of the Circumferent or out-stroke, and his looseness, and a good Position, as also of keeping of their Parts, p. 30-32
- Chapter XVII: Of the Finishing of a Draught, p. 32-35
- An addition, p. 35-38
- Illustrations

GOEREE, Willem, Inleydinge tot de al-gemeene teycken-konst, waer in de Gronden en Eygenschappen, tie tot onfeylbaer en verstandigh begrijp van de Teycken-Konst noodigh te weten zijn, kortelijck en klaer werden aen-ghewese. Zijnde niet alleen den Leerlingen van Teyckenaers, Schilders, Glas-schijvers, Beeldt-houwers, en andere Oeffenaers tot een aenleydinge nut en dienstigh, maer oock om aen alle Lief-hebbers, en Beminners, soo van Dese, als van andere Konsten (daer uyt vooort-komende,) een bescheydene kennisse mede te deelen. Door Wilhelmus Goeree. Achter welcke noch is by-gevoeght, het recht ghebruyck der Water-verwen, tot de Verlichtery-Kunde noodigh, &c, Middelburg, Wilhelmus Goeree, 1668.

GOEREE, Willem, Anweisung zu der allgemeinen Reiß- und Zeichen-Kunst: darinnen die Gründe und Eigenschaften die man einen unfehlbahren Verstand in der Zeichenkunst zu erlangen notwendig wissen mus kurzbündig doch klährlich angewiesen werden: nicht allein den angefahenden Zeichern Kupferstechern Mahlern Glasschreibern Bildhauern zu erbauung und nutse; sondern auch alle Liebhabern dieser oder anderer daraus entspriessende Kunste zur Lust und Erlangung so viel Runde als ihnen von allen nie her gehörigen Kunststükken volkömlich zu urteilen nöhtig beschrieben durch den Kunsterfahrnen Wilhelm Goeree und mit müglichsten steisse in das hochdeutsche versezet durch Filip von Zesen, trad. par VON ZESEN, Philipp, Hamburg, Johann Naumann und Georg Wolffen, 1669.

GOEREE, Willem, Anweisung zur algemeinen Reiss- und Zeichen-Kunst darinnen die Gründe und Eigenschafften die man einen unfehlbahren Vestand in der Zeichen-Kunst zu erlangen nothwendig wissen muß kürßlich und doch klärlich angewiesen werde. Nicht allein den anfahenden Zeichern Kupfferstechern Mahlern Glasschreibern Bildhauern und dergleichen Künstlern zur Anleitung sondern auch allen Liebhabern beydes dieser und anderer daraus entspriessenden Künste zur Lust und Erlangung so vieler Erkäntnüß als von dergleichen Künsten vernünfftig zu urtheilen erfordert wird dienstlich und nüßlich Durch Wilhelm Goeree. Zum andern Mahl gedruckt und fast umb die Helffte vermehret, trad. par LANGE, Johann, Hamburg, Johann Naumann und Georg Wolffen, 1677.

GOEREE, Willem, Inleydinge tot de algemeene teyken-konst : waar in de gronden en eygenschappen, die tot onfeylbaar en verstandig begrijp van de teyken-konst noodig te weten zijn, kort en klaar worden aangewesen. Zijnde niet alleen den Leerlingen der Teyken- en Schilderkunde, Beeldhouwerye en Glasschrijfkunde, tot een aanleydine nut en Dienstig, maar ook om aan alle Liefhebbers en Beminnaars, soo van Dese, als van alle andere konsten (daer uyt voort-komende) een bescheyden Kennisse mede te deelen. Door W. Goeree. In desen derden Druk, van nieuws oversien en vermeerderd, Amsterdam, Daniel van Dalen, 1697.

EMMENS, Jan Ameling, Rembrandt en de regels van de kunst, Utrecht, Dekker & Gumbert, 1968.

SCHATBORN, Peter (éd.), Figuurstudies: Nederlandse tekeningen uit de 17de eeuw, cat. exp., Amsterdam, Rijksprentenkabinet - Washington, National Gallery of Art, 1981-1982, Staatsuitgeverij, 1981.

MULLER, Jeffrey M. (éd.), Children of Mercury: The Education of Artists in the Sixteenth and Seventeenth Centuries, cat. exp., Providence, Bell Gallery, 1984, Bell Gallery, 1984.

SCHATBORN, Peter et ORNSTEIN-VAN SLOOTEN, Eva (éd.), Bij Rembrandt in de leer / Rembrandt as teacher, cat. exp., Amsterdam, Museum het Rembrandthuis, 1984, Museum het Rembrandthuis, 1985.

DE KLERK, Bram, « “Academy-Beelden“ and “Teeken-Schoolen" in Dutch Seventeenth-Century Treatises on Art », Leids Kunsthistorisch Jaarboek, 5/6, 1989, p. 283-289.

BOK, Marten Jan, « “Nulla dies sine linie“: De opleiding van schilders in Utrecht in de eerste helft van de zeventiende eeuw », De zeventiende eeuw, 6/1, 1990, p. 56-68.

KWAKKELSTEIN, Michael W., « Willem Goeree and Leonardo’s Theories of Painting », Achademia Leonardi Vinci, 10, 1997, p. 134-140.

KWAKKELSTEIN, Michael W., Willem Goeree : Inleydinge Tot de Al-Ghemeene Teycken-Konst ; Een Kritische Geannoteerde Editie, Leiden, Primavera press, 1998, p. 88-89.

TAYLOR, Paul, « Composition in Seventeenth-Century Dutch Art Theory », dans TAYLOR, Paul et QUIVIGER, François (éd.), Pictorial Composition From Medieval to Modern Art, Actes du colloque de Londres, London - Torino, Warburg Institute - N. Aragno, 2000, p. 146-171.

MAËS, Gaëtane, « Les 'Principes du dessin' de Gerard de Lairesse : réflexions sur les différentes éditions et traductions parues dans l'Europe des Lumières », dans HECK, Michèle-Caroline, FREYSSINET, Marianne et TROUVÉ, Stéphanie (éd.), Lexicographie artistique : formes, usages et enjeux dans l'Europe moderne , Actes du colloque de Montpellier et Paris, Montpellier, PULM, 2018, p. 139-167 [En ligne : dx.doi.org/10.26530/OAPEN_644313 consulté le 15/03/2018].