This is just to say that some of my messages seem to be delayed. One which I
sent yesterday has just appeared.
Thank you for the link to the Lancret.
Monica
> On 18 July 2020 at 11:47 David Van Edwards wrote:
>
>
> Dear Monica,
>
> I'm sure you're right, Watteau's interest was the pose not
Dear David
Thank you for this. Seen from in front it is clearer what is happening.
Best wishes
Monica
> On 18 July 2020 at 11:47 David Van Edwards wrote:
>
>
> Dear Monica,
>
> I'm sure you're right, Watteau's interest was the pose not the instrument.
>
> Indeed the same pose was adapted
Dear Monica,
I'm sure you're right, Watteau's interest was the pose not the instrument.
Indeed the same pose was adapted several times about 25 years later
[but seen from the front] by Nicolas Lancret, an admirer of Watteau.
Dear David
Thank you for the photo. It does make it much clearer what the player is doing.
I tried to take a photo of myself with my guitar - but it didn't work as it is
a different shape and the pegs go through the back of the head.
I think Watteau must have been more interested in reproducing
I wonder if we are looking at the same pictures. You can't see his right hand
or the rose at all- only the back of the instrument.
Robert Spencer in an article in Early Music April 1976 suggested that it was a
Chitarrone francese for which he had two manuscripts of music.
Was the gallichon in
Dear Monica,
There are two separate issues here, the lute and pegbox itself are
rather odd and dubious and I suspect Watteau didn't really care.
The position of the hand is a separate matter and it seems entirely
possible to me. To demonstrate, I've just taken a photo posed in the
same way
PS.
The other hidden arm is holding the instrument, stabilizing it.
On Fri, Jul 17, 2020 at 6:06 PM G. C. <[1]kalei...@gmail.com> wrote:
+++ Normally you would be plucking the string to hear if it were
in
tune.
But the way his hand is positioned, it is
+++ Normally you would be plucking the string to hear if it were in
tune.
But the way his hand is positioned, it is conceivable that he could
pluck the string with the thumb to check if it was in tune, as well as
use the same thumb and index to tighten the peg no?
G.
--
Am Freitag, 17. Juli 2020 18:32 CEST, Monica Hall
schrieb:
> I still don't get it!
>
> Neither picture seems to make sense to me even when put side to side. In the
> Lute player the back view of the instrument is shown but the peg box is
> skewed to the front. The peg box is curved and
I still don't get it!
Neither picture seems to make sense to me even when put side to side. In the
Lute player the back view of the instrument is shown but the peg box is skewed
to the front. The peg box is curved and the pegs inserted laterally.
In the Theorbo player the back view of the
Dear Monica,
There's another related Watteau painting in the Wallace collection
(Pour nous prouver que cette belle) showing the same hand in much
more detail. Different instrument so the pegbox is a bit narrower and
that maybe makes the hand more possible. But the brushwork here shows
that
He is obviously using his left hand thumb for something. On the
petit jueu it seems. Maybe plucking a string in the tuning process.
G
--
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Am Freitag, 17. Juli 2020 11:50 CEST, Monica Hall
schrieb:
[...]
> However, what puzzles me is the odd position of his left arm and hand which
> seem to me to be anatomically impossible. It looks as if his fingers are
> stopping the back of the neck. Even if he was tuning it it couldn't
I don't really see it?
It looks like the hand is firmly stabilized to get good control of the peg.
One could argue that the peg would be a bit high compared to the others.
On 17.07.20 11:50, Monica Hall wrote:
"Les charmes de la vie" is a well-known painting by Watteau in the Wallace
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