A Treatise on Painting (Illustrated) E-Book

Leonardo da Vinci

• Herausgeber: Youcanprint
• Sprache: Englisch
• Veröffentlichungsjahr: 2018

Beschreibung

The excellence of the following Treatise is so well known to all in any tolerable degree conversant with the Art of Painting, that it would be almost superfluous to say any thing respecting it, were it not that it here appears under the form of a new translation, of which some account may be expected. Of the original Work, which is in reality a selection from the voluminous manuscript collections of the Author, both in folio and quarto, of all such passages as related to Painting, no edition appeared in print till 1651, though its Author died so long before as the year 1519; and it is owing to the circumstance of a manuscript copy of these extracts in the original Italian, having fallen into the hands of Raphael du Fresne; that in the former of these years it was published at Paris in a thin folio volume in that language, accompanied with a set of cuts from the drawings of Nicolo Poussin, and Alberti; the former having designed the human figures, the latter the geometrical and other representations.

Leseprobe

Table of Contents

DRAWING.

Chap. I.—What the young Student in Painting ought in the first Place to learn.

Chap. II.—Rule for a young Student in Painting.

Chap. III.—How to discover a young Man’s Dispositionfor Painting.

Chap. IV.—Of Painting, and its Divisions.

Chap. V.—Division of the Figure.

Chap. VI.—Proportion of Members.

Chap. VII.—Of Dimensions in general.

Chap. VIII.—Motion, Changes, and Proportion of Members.

Chap. IX.—The Difference of Proportion between Children and grown Men.

Chap. X.—The Alterations in the Proportion of the human Body from Infancy to full Age.

Chap. XI.—Of the Proportion of Members.

Chap. XII.—That every Partbe proportioned to its Whole.

Chap. XIII.—Of the Proportion of the Members.

Chap. XIV.—The Danger of forming an erroneous Judgment in regard to the Proportion and Beauty of the Parts.

Chap. XV.—Another Precept.

Chap. XVI.—The Manner of drawing from Relievos, and rendering Paper fit for it.

Chap. XVII.—Of drawing from Casts or Nature.

Chap. XVIII.—To draw Figures from Nature.

Chap. XIX.—Of drawing from Nature.

Chap. XX.—Of drawing Academy Figures.

Chap. XXI.—Of studying in the Dark, on first waking in the Morning, and before going to sleep.

Chap. XXII.—Observations on drawing Portraits.

Chap.XXIII.—The Method of retaining in the Memory the Likeness of a Man, so as to draw his Profile, after having seen him only once.

Chap. XXIV.—How to remember the Form of a Face.

Chap. XXV.—That a Painter should take Pleasure in the Opinion of every body.

ANATOMY.

Chap. XXVI.—What is principally to be observed in Figures.

Chap. XXVII.—Mode of Studying.

Chap. XXVIII.—Of being universal.

Chap. XXIX.—A Precept for the Painter.

Chap. XXX.—Of the Measures of the human Body, and the bending of Members.

Chap. XXXI.—Of the small Bones in several Joints of the human Body.

Chap. XXXII.—Memorandum to be observed by the Painter.

Chap. XXXIII.—The Shoulders.

Chap. XXXIV.—The Difference of Joints between Children and grown Men.

Chap. XXXV.—Of the Joints of the Fingers.

Chap. XXXVI.—Of the Joint of the Wrist.

Chap. XXXVII.—Of the Joint of the Foot.

Chap. XXXIX.—Of the Joints.

Chap. XL.—Of the Naked.

Chap. XLI.—Of the Thickness of the Muscles.

Chap. XLII.—Fat Subjects have small Muscles.

Chap. XLIII.—Which of the Muscles disappear in the different Motions of the Body.

Chap. XLIV.—Of the Muscles.

Chap. XLV.—Of the Muscles.

Chap. XLVI.—The Extension and Contraction of the Muscles.

Chap. XLVII.—Of the Muscle between the Chest and the lower Belly.

Chap. XLVIII.—Of a Man’s complex Strength, but first of the Arm.

Chap. XLIX.—In which of the twoActions, Pulling or Pushing, a Man has the greatest Power, Plate II.

Chap. L.—Of the bending of Members, and of the Flesh round the bending Joint.

Chap. LI.—Of the naked Body.

Chap. LII.—Of a Ligament without Muscles.

Chap. LIII.—Of Creases.

Chap. LIV.—How near behind the Back one Arm can be brought to the other, Plate III. and IV.

Chap. LV.—Of the Muscles.

Chap. LVI.—Of the Muscles.

Chap. LVII.—Of the Bending of the Body.

Chap. LVIII.—Thesame Subject.

Chap. LIX.—The Necessity of anatomical Knowledge.

Chap. LX.—Of the Equipoise of a Figure standing still.

Chap. LXI.—Motion produced by the Loss of Equilibrium.

Chap. LXII.—Of the Equipoise of Bodies, Plate V.

Chap. LXIII.—Of Positions.

Chap. LXIV.—Of balancing the Weight round the Centre of Gravity in Bodies.

Chap. LXV.—Of Figures that have to lift up, or carry any Weight.

Chap. LXVI.—The Equilibrium of a Man standing upon his Feet, Plate VI.

Chap. LXVIII.—Of the Centre of Gravity in Men and Animals.

Chap. LXIX.—Of the corresponding Thickness of Parts on each Side of the Body.

Chap. LXX.—Of the Motions of Animals.

Chap. LXXI.—Of Quadrupeds and their Motions.

Chap. LXXII.—Of the Quickness or Slowness of Motion.

Chap. LXXIII.—Of the Motion of Animals.

Chap. LXXIV.—Of a Figure moving against the Wind, Plate VIII.

Chap. LXXV.—Of the Balance of a Figure resting upon its Feet.

Chap. LXXVII.—Of a Man standing, but resting more upon one Foot than the other.

Chap. LXXVIII.—Of the Balance of Figures, Plate IX.

Chap. LXXIX.—In what Manner extending one Arm alters the Balance.

Chap. LXXX.—Of a Man bearinga Weight on his Shoulders, Plate X.

Chap. LXXXI.—Of Equilibrium.

Chap. LXXXIII.—The Level of the Shoulders.

Chap. LXXXIV.—Objection to the above answered, Plate XI. and XII.

Chap. LXXXV.—Of the Position of Figures, Plate XIII.

Chap. LXXXVI.—Of the Joints.

Chap. LXXXVII.—Of the Shoulders.

Chap. LXXXVIII.—Of the Motions of a Man.

Chap. LXXXIX.—Of the Disposition of Members preparing to act with great Force, Plate XIV.

Chap. XC.—Of throwing any Thing with Violence, Plate XV.

Chap. XCI.—On the Motion of drivingany Thing into or drawing it out of the Ground.

Chap. XCII.—Of forcible Motions, Plate XVI.

Chap. XCIII.—The Action of Jumping.

Chap. XCIV.—Of the three Motions in jumping upwards.

Chap. XCV.—Of the easy Motions of Members.

Chap. XCVI.—The greatest Twist which a Man can make, in turning to look at himself behind.Plate XVII.

Chap. XCVII.—Of turning the Leg without the Thigh.

Chap. XCVIII.—Postures of Figures.

Chap. XCIX.—Of the Gracefulness of the Members.

Chap. C.—That it is impossible for any Memory to retain the Aspects and Changes of the Members.

Chap. CI.—The Motions of Figures.

Chap. CII.—Of common Motions.

Chap. CIII.—Of simple Motions.

Chap. CIV.—Complex Motion.

Chap. CV.—Motions appropriated to the Subject.

Chap. CVI.—Appropriate Motions.

Chap. CVII.—Of the Postures of Women and young People.

Chap. CVIII.—Of the Postures of Children.

Chap. CIX.—Of the Motion of the Members.

Chap. CX.—Of mental Motions.

Chap. CXI.—Effect of the Mind upon the Motions of the Body, occasioned by some outward Object.

LINEAR PERSPECTIVE.

Chap. CXII.—Of those who apply themselves to the Practice, without having learnt the Theoryof the Art.

Chap. CXIII.—Precepts in Painting.

Chap. CXIV.—Of the Boundaries of Objects called Outlines or Contours.

Chap. CXV.—Of linear Perspective.

Chap. CXVI.—What Parts of Objects disappear first by Distance.

Chap. CXVII.—Of remoteObjects.

Chap. CXVIII.—Of the Point of Sight.

Chap. CXIX.—A Picture is to be viewed from one Point only.

Chap. CXX.—Of the Dimensions of the first Figure in an historical Painting.

Chap. CXXI.—Of Objects that are lost to the Sight in Proportion to their Distance.

Chap. CXXII.—Errors not so easily seen in small Objects as in large ones.

Chap. CXXIII.—Historical Subjects one above another on the same Wall to be avoided.

Chap. CXXIV.—Why Objects in Painting can never detach, as natural Objects do.

Chap. CXXV.—How to give the proper Dimension to Objects in Painting.

Chap. CXXVI.—How to draw accurately any particular Spot.

Chap. CXXVII.—Disproportion to be avoided, even in the accessory Parts.

INVENTION,or COMPOSITION.

Chap. CXXVIII.—Precept for avoiding a bad Choice in the Style or Proportion of Figures.

Chap. CXXIX.—Variety in Figures.

Chap. CXXX.—How a Painter ought to proceed in his Studies.

Chap. CXXXI.—Of sketching Histories and Figures.

Chap. CXXXII.—How to study Composition.

Chap.CXXXIII.—Of the Attitudes of Men.

Chap. CXXXIV.—Variety of Positions.

Chap. CXXXV.—Of Studies from Nature for History.

Chap. CXXXVI.—Of the Variety of Figures in History Painting.

Chap. CXXXVII.—Of Variety in History.

Chap. CXXXVIII.—Of the Age of Figures.

Chap. CXXXIX.—Of Variety of Faces.

Chap. CXL.—A Fault in Painters.

Chap. CXLI.—How you may learn to compose Groups for History Painting.

Chap. CXLII.—How to study the Motions of the human Body.

Chap. CXLIII.—Of Dresses, and of Draperies and Folds.

Chap. CXLIV.—Of the Nature of Folds in Draperies.

Chap. CXLV.—How the Folds of Draperies ought to be represented, Plate XVIII.

Chap. CXLVI.—How the Folds in Draperies ought to be made.

Chap. CXLVII.—Fore-shortening of Folds, Plate XIX.

Chap. CL.—The Character of Figures in Composition.

Chap. CLI.—The Motion of the Muscles, when the Figures are in natural Positions.

Chap. CLII.—A Precept in Painting.

Chap. CLIV.—Of Attitudes, and the Motions of the Members.

Chap. CLV.—Of a single Figure separate from an historical Group.

Chap. CLVI.—On the Attitudes of the human Figure.

Chap. CLVII.—How to represent a Storm.

Chap. CLVIII.—How to compose a Battle.

Chap. CLIX.—The Representation of an Orator and his Audience.

Chap. CLX.—Of demonstrative Gestures.

Chap. CLXI.—Of the Attitudes of the By-standers at some remarkable Event.

Chap. CLXII.—How to represent Night.

Chap. CLXIII.—The Method of awakening the Mind to a Variety of Inventions.

Chap. CLXIV.—Of Composition in History.

Chap. CLXV.—Of expressive Motions.

Chap. CLXVI.—How to paint Children.

Chap. CLXVII.—How to represent old Men.

Chap. CLXVIII.—How to paint old Women.

Chap. CLXIX.—How to paint Women.

Chap. CLXX.—Of the Variety of Faces.

Chap.CLXXI.—The Parts of the Face, and their Motions.

Chap. CLXXII.—Laughing and Weeping.

LIGHT and SHADOW.

COLOURS and COLOURING.

COLOURS.

Chap. CCXXII.—What Surface is best calculated to receive most Colours.

Chap. CCXXIII.—What Surface will shew most perfectly its true Colour.

Chap. CCXXIV.—On what Surfaces the true Colour is least apparent.

Chap. CCXXV.—What Surfaces shew most of their true and genuine Colour.

Chap. CCXXVI.—Of the Mixture of Colours.

Chap. CCXXVII.—Of the Colours produced by the Mixture of other Colours, called secondary Colours.

Chap. CCXXIX.—How to increase the Beauty of Verdegris.

Chap. CCXXX.—How to paint a Picture that will last almost for ever.

Chap. CCXXXI.—The Mode of painting on Canvass, or Linen Cloth[54].

Chap. CCXXXII.—Of lively and beautiful Colours.

Chap. CCXXXIII.—Of transparent Colours.

Chap. CCXXXIV.—In what Part a Colour will appear in its greatest Beauty.

Chap. CCXXXV.—How any Colour without Gloss, is more beautiful in the Lights than in the Shades.

Chap. CCXXXVI.—Of the Appearance of Colours.

Chap. CCXXXVII.—What Part of a Colour is to be the most beautiful.

Chap. CCXXXVIII.—That the Beauty of a Colour is to be found in theLights.

Chap. CCXL.—No Object appears in its true Colour, unless the Light which strikes upon it be of the same Colour.

Chap. CCXLI.—Of the Colour of Shadows.

Chap. CCXLIII.—Whether it be possible for all Colours to appear alike by means of the sameShadow.

Chap. CCXLIV.—Why White is not reckoned amongthe Colours.

Chap. CCXLVI.—Of the Colouring of remote Objects.

Chap. CCXLVII.—The Surface of all opake Bodies participates of the Colour of the surrounding Objects.

Chap. CCXLVIII.—General Remarks on Colours.

COLOURS IN REGARD TO LIGHT AND SHADOW.

Chap. CCXLIX.—Of the Light proper for painting Flesh Colour from Nature.

Chap. CCL.—Of the Painter’s Window.

Chap. CCLI.—The Shadows of Colours.

Chap. CCLII.—Of the Shadows of White.

Chap. CCLIII.—Which of the Colours will produce the darkest Shade.

Chap. CCLIV.—How to manage, when a White terminates upon another White.

Chap. CCLV.—On the Back-grounds of Figures.

Chap. CCLVI.—The Mode of composing History.

Chap. CCLVII.—Remarks concerning Lights and Shadows.

Chap. CCLVIII.—Why the Shadows of Bodies upon a white Wall are blueish towards Evening.

Chap. CCLIX.—Of the Colour of Faces.

Chap. CCLX.—A Precept relating to Painting.

Chap. CCLXI.—Of Colours in Shadow.

Chap. CCLXII.—Of the Choice of Lights.

COLOURS IN REGARD TO BACK-GROUNDS.

Chap. CCLXIII.—Of avoiding hard Outlines.

Chap. CCLXV.—Of Back-grounds.

Chap. CCLXVI.—How to detach Figures from the Ground.

Chap. CCLXVII.—Of Uniformity and Variety of Colours upon plain Surfaces.

Chap. CCLXVIII.—Of Back-grounds suitable both to Shadows and Lights.

Chap. CCLXIX.—The apparent Variation of Colours, occasioned by the Contraste of the Ground upon which they are placed.

CONTRASTE, HARMONY, AND REFLEXES, IN REGARD TO COLOURS.

Chap. CCLXX.—Gradation in Painting.

Chap. CCLXXI.—How to assort Colours in such a Manner as that they may add Beauty to each other.

Chap. CCLXXII.—Of detaching the Figures.

Chap. CCLXXIII.—Of the Colour of Reflexes.

Chap. CCLXXIV.—What Body will be the most strongly tinged with the Colour of any other Object.

Chap. CCLXXVI.—Of the Surface of all shadowed Bodies.

Chap. CCLXXVII.—That no reflected Colour is simple, but is mixed with the Nature of the otherColours.

Chap. CCLXXVIII.—Of the Colour of Lights and Reflexes.

Chap. CCLXXIX.—Why reflected Colours seldom partake of the Colour of the Body where they meet.

Chap. CCLXXX.—The Reflexes of Flesh Colours.

Chap. CCLXXXI.—Of the Nature of Comparison.

Chap. CCLXXXII.—Where the Reflexes are seen.

PERSPECTIVE OF COLOURS.

Chap. CCLXXXIII.—A Precept of Perspective in regard to Painting.

Chap. CCLXXXIV.—Of the Perspective of Colours.

Chap. CCLXXXV.—The Cause of the Diminution of Colours.

Chap.CCLXXXVI.—Of the Diminution of Colours and Objects.

Chap. CCLXXXVII.—Of the Variety observable in Colours, according to their Distance, or Proximity.

Chap. CCLXXXVIII.—At what Distance Colours are entirely lost.

Chap. CCLXXXIX.—Of the Change observable in the same Colour, according to its Distance from the Eye.

Chap. CCXC.—Of the blueish Appearance of remote Objects in a Landscape.

Chap. CCXCI.—Of the Qualities in the Surface which first lose themselves by Distance.

Chap. CCXCII.—From what Cause the Azure of the Air proceeds.

Chap. CCXCIII.—Of the Perspective of Colours.

Chap. CCXCIV.—Of the Perspective of Colours in dark Places.

Chap. CCXCV.—Of the Perspective of Colours.

Chap. CCXCVII.—How it happens that Colours do not change, though placed in different Qualities of Air.

Chap. CCXCVIII.—Why Colours experience no apparent Change, though placed in different Qualities of Air.

Chap. CCXCIX.—Contrary Opinions in regard to Objects seen afaroff.