TERM USED AS TRANSLATIONS IN QUOTATIONARTIFICE (fra.)
TERM USED IN EARLY TRANSLATIONSARTIFICE (fra.)
RICHARDSON, Jonathan, Two Discourses. I. An Essay on the whole Art of Criticism as it relates to Painting. Shewing how to judge I. Of the Goodness of a Picture ; II. Of the Hand of the Master ; and III. Whether ‘tis an Original, or a Copy. II. An Argument in behalf of the Science of a Connoisseur ; Wherein is shewn the Dignity, Certainty, Pleasure, and Advantage of it. Both by Mr. Richardson, London, W. Churchill, 1719.1 quotations
And notwithstanding the Defects I have taken the Liberty to remark with the same Indifferency as I have observed the Beauties, that is, without the least regard to the Great Name of the Master, There is a Grace throughout that Charms, and a Greatness that Commands Respect [ndr : dans le portrait de la comtesse Dowager d’Exeter, par Van Dyck]; She appears at first Sight to be a Well-bred Woman of Quality ; ‘tis in her Face, and in her Mien ; and as her Dress, Ornaments, and Furniture contribute something to the Greatness, the Gause Veil coming over her Forehead, and the Hem of it hiding a Defect (which was want of Eye-brows,) is a fine Artifice to give more Grace. This Grace, and Greatness is not that of Raffaelle, or the Antique but ‘tis what is suitable to a Portrait ; and one of Her Age, and Character, and consequently better than if she had appear’d with the Grace of a Venus, or Helena, or the Majesty of a Minerva, or Semiramis.
There are an Infinity of Artifices to Hide Defects, or Give Advantages, which come under this Head of Invention ; as does all Caprices, Grotesque, and other Ornaments, Masks, &c. together with all Uncommon, and Delicate Thoughts : such as the Cherubims attending on God when he appeared to Moses in the Burning Bush, which Rafaëlle has painted with Flames about them instead of Wings ;
Sometimes one Mass of Light is upon a dark Ground, and then the Extremities of the Light must not be too near the edges of the Picture, and its greatest Strength must be towards the Centre ; […].
I have a Painting of the Holy Family by Rubens of this Structure ; where, because the Mass of Light in one part would else have gone off too abruptly, and have made a less pleasing Figure, he has set the Foot of S. Elizabeth on a little Stool ; here the Light catches, and spreads the Mass so as to have the desired effect. Such another Artifice Rafaëlle has used in a Madonna, […] ; He has brought in a kind of an Ornament to a Chair for no other end (that I can imagine) but to form the Mass agreeably.
PONTIUS, Paulus, Jésus-Christ en croix, dit aussi « au coup de poing », d'après Rubens, v. 1631, 60,5 x 38, 6, Paris, Petit Palais, Musée des Beaux-Arts de Paris, GDUT8222.
VORSTERMAN, Lucas, Descente de la croix d'après Rubens, v. 1620, 58,5 x 42,5, Paris, Petit Palais, Musée des Beaux-Arts de Paris, GDUT8226.