Still Life Painting: From Antiquity to the Twentieth Century
From The Art and Popular Culture Encyclopedia
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| "A [[Still life|still life painting]] was originally designated in Greek by the term "''[[rhopography]]''" (i.e. depiction of insignificant objects, of odds and ends); then, forcing the pejorative nuance a little, it was mockingly baptized '"''[[rhyparography]]''" (i.e. painting of the sordid) […] Now too the term "''[[megalography]]''" (i.e. large-scale painting) was coined in contradistinction to ''rhopography''. But it was not so much a matter of size as of the nature of the subject, the latter category corresponding to our minor genre as contrasted with the [[grand manner]]."--''[[Still Life Painting: From Antiquity to the Twentieth Century]]'' (1952:27), Charles Sterling | "A [[Still life|still life painting]] was originally designated in Greek by the term "''[[rhopography]]''" (i.e. depiction of insignificant objects, of odds and ends); then, forcing the pejorative nuance a little, it was mockingly baptized '"''[[rhyparography]]''" (i.e. painting of the sordid) […] Now too the term "''[[megalography]]''" (i.e. large-scale painting) was coined in contradistinction to ''rhopography''. But it was not so much a matter of size as of the nature of the subject, the latter category corresponding to our minor genre as contrasted with the [[grand manner]]."--''[[Still Life Painting: From Antiquity to the Twentieth Century]]'' (1952:27), Charles Sterling | ||
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| + | "être, ainsi, à l'origine de ce malicieux jeu de mots par lequel on a fini par nommer ce genre particulier de peinture représentant des vivres prêts à la dégustation, ou déjà consommés : ''rhyparographie'', c'est-à-dire, littéralement, peinture de détritus, au lieu de ''rhopographie'', appellation plus correcte qui signifie : peinture de menus objets. Mais, bien que ces œuvres fussent considérées comme mineures, comme des ouvrages « minoris picturae », l'engouement que le public manifestait" | ||
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"A still life painting was originally designated in Greek by the term "rhopography" (i.e. depiction of insignificant objects, of odds and ends); then, forcing the pejorative nuance a little, it was mockingly baptized '"rhyparography" (i.e. painting of the sordid) […] Now too the term "megalography" (i.e. large-scale painting) was coined in contradistinction to rhopography. But it was not so much a matter of size as of the nature of the subject, the latter category corresponding to our minor genre as contrasted with the grand manner."--Still Life Painting: From Antiquity to the Twentieth Century (1952:27), Charles Sterling French text of the above: "être, ainsi, à l'origine de ce malicieux jeu de mots par lequel on a fini par nommer ce genre particulier de peinture représentant des vivres prêts à la dégustation, ou déjà consommés : rhyparographie, c'est-à-dire, littéralement, peinture de détritus, au lieu de rhopographie, appellation plus correcte qui signifie : peinture de menus objets. Mais, bien que ces œuvres fussent considérées comme mineures, comme des ouvrages « minoris picturae », l'engouement que le public manifestait" |
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La nature morte de l'antiquité à nos jours (1952) is a work by Charles Sterling on the history of still life painting.
It was translated in English as Still Life Painting: From Antiquity to the Twentieth Century (1981).
