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In painting, staffage, pronounced "staffarge" as in French ([stæffaʒ]), are the human and animal figures depicted in a scene, especially a landscape, that are not the primary subject matter of the work. Before the adoption of the word into the visual arts in the late eighteenth and early nineteenth centuries, Staffage in German could mean "accessories" or "decoration".[1] The word can be used in two senses: as a general term for any figures in a work, even when they are, at least ostensibly, the main subject, and as a descriptive term for figures to whom no specific identity or story is attached, included merely for compositional or decorative reasons. In the latter sense, staffage are accessories to the scene, yet add life to the work; they provide depth to the painting and reinforce the main subject, as well as giving a clear scale to the rest of the composition.
During the Baroque, painters such as Nicolas Poussin and Claude Lorrain commonly used staffage. Some landscape specialists had other painters who were more adept at painting the human form add staffage to their canvasses. Staffage figures in the second sense defined above are always unnamed and should be distinguished from equally small figures with an identity, who were also used in landscapes in what is technically a very similar way. However when named biblical or mythological figures are used, instead of unnamed "shepherds", "soldiers" and so on, this had the effect, according to the contemporary theory of the hierarchy of genres, in turning a landscape painting into a more prestigious, and often more valuable, history painting, even when the figures are small and inconspicuous amid a large landscape. Such works are often given modern titles in the form "Landscape with ...".
Staffage should also be distinguished from the figures in genre paintings, who are also anonymous and typically from the common people, but who are the main subject of the painting.
By the 19th centuries books with patterns for hundreds of different staffage figures were published for painters to "cut and paste" into their compositions.[2] Earlier artists had often kept drawings of such pattern figures, and the same figures often recur in several of the works of an artist, and can sometimes be traced passing to other artists.
Notes [link]
- ^ John, David Gethin (1998). Images of Goethe Through Schiller's Egmont. McGill-Queen's Press. pp. 195. ISBN 0-7735-1681-6.
- ^ Staffage", p. 310 in The encyclopedia of ephemera: a guide to the fragmentary documents of everyday life for the collector, curator, and historian, by Maurice Rickards & Michael Twyman, Routledge, 2000, ISBN 0-415-92648-3, ISBN 978-0-415-92648-5
https://wn.com/Staffage
Podcasts:
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by Stevie J
Out For The Count
by: Stevie J[Stevie J]
Uh, uh, uh
Yo Eve
[Eve]
Hey nigga check this here
I'm about to give it to you real clear
E-V-E ain't about the bullshit
Game playin, wanna be a third nigga do it elsewhere
Oh so what you tryna make me bitter
Shit better act right
I'll pull another nigga
I don't want no little boy
I ain't no babysitter
You want a chicken?
Go ahead make her lay your eggs nigga
Cause I ain't with that
I'll leave you lonely, crying
Huh baby you dig that?
And I leave can't get none of your gifts back
Take your car
Have you calling cabbies just to get home
And when you all alone
Don't wanna hear you ring my phone
That's right, baby act right
Got no time for the bullshit
Cause I'mma have my niggas running at your door to bust
Don't try to duck, you and that bitch with a full clip
Come on
[Stevie J]
One night back in July
She was standing outside the club
So fly she caught my eye
But you know that was not enough
I tried to get closer to shorty
But wifey had peeped my game
She looked at her funny
They had words
And I was the one to blame
[1:]
It started out one day
Coming on a rainy day
The sooner I do it, she never even stood a chance
More will come, but there's only one champion
She was out for the count again
It took about one hour later
I started to make my move
Out on the dancefloor
When wifey returned she was through from powder room
She saw me, freaking the same way I do
When I dance with her
And maybe if I would have played the right cards
She wouldn't be hurt
I'm sorry for doing you wrong
I know that I have been a fool for too long
But if you choose to go away
Girl I feel that you should know
I really wanna change
I changed, girl I have changed
[Eve]
Hey what I look like, a child?
This ain't no fuckin' smile
It's a frown, Ruff Ryde show you how I get down
Won't take long, it'll be a quick pound
Got a bob and weave, and a hitting sound
Embarrasing have you running around crying
(Get her off me, somebody help me now)
Huh, too late ma, you gotta get your shit split
Now that's for acting dumb like you ain't know who you was wit'
You see this R around my neck
I don't allow disrespect
Bitch you must've really thought I slept with the wrong one
See me drinkin' think I'm touched
Next time you see this thug
You gonna be walking on a crutch
And for you sorry nigga
You and that bitch can be together
Forever sleeping in the same ditch
That's it, I'mma leave, you ain't doing me right
Play fair, or I'mma play dirty out your life, huh