The text discusses the relationship between body gestures and facial expressions in art, particularly in painting. It emphasizes how passions are most evident in facial expressions, which help interpret the rest of the body's movements. The artist must skillfully combine the body's actions with the expression to achieve a complete portrayal of emotions or tasks.
Actual Engagements
To follow properly in order; however, this is quite different in painting, for there the movement and gestures of the body can best follow those of the expression. If an observant mind gently considers themselves, or contemplates life, they shall realize this; particularly when observing that passions are best and earliest seen in the facial expressions, leading us to judge the rest of the body’s gestures, even if we hardly pay attention to them. Yet, actions of the body are primarily noted and passion does not easily read from expressions if they are not well defined there. But when the body with the focus and disposition of the expression are completely unified and shown accurately in the same act, we perceive everything perfectly. The signs of innate passions identified from different parts, as previously discussed, show that the artist must wisely and attentively apply everything regarding the expression of actions and passions, which we will further consider.
We call an Action such when a person with their limbs conducts some serious task or actual movement; where the occupation and attention of the work can be perceived in the face, yet nevertheless, all limbs primarily show signs of work, through which the human’s spirit, engaged only in facial expression, accomplishes the deed. However, when a deed involves the internal states of mind, they are recognized through external gestures.
Translation Notes:
- "Gebeerden" translates as "gestures."
- "Pasfien" is translated as "passions."
- "Actien" is translated as "actions."