FortHillStudios: Vermeer and the Camera

Vermeer's "The Music Lesson"

The other evening I finally got to see the film "Tim'sVermeer". In short, this is the story of Tim Jenison, an inventor and entrepreneur who became interested in the "photographic" quality of the Dutch painter Johanne Vermeer's work, and wanted to see if technology aided the artist. His theory is that a primitive (by our standards) optical device, the "camera obscura", which was well known at that time, was used for drawing. He did not understand, however, how this would have aided in the color. Bit of a spoiler, a mirror was also required.

Jenison, an art novice, finds he can make an almost perfect replica of a photograph using his technique. He then moves on to the next step, working as he believed Johannes Vermeer (1632–1675) did.

The film takes us through the process of recreating the physical setup of the studio arrangement, including replicating the items appearing in the painting "The Music Lesson".

There are two art experts and authors appearing in the film.

Philip Steadman, author of Vermeer’s Camera, examined the paintings of Vermeer and through geometry believes he has proof that the painter used a camera obscura to create the drawing/composition.

Artist David Hockney wrote Secret Knowledge, where he is convinced the use of technology (in terms of lenses, etc.) was in use by a number of artists, and earlier than believed.

I found this all intriguing, and like any modern person, found myself "googling" into the night to learn more.

As contrasted with the "Vermeer" replica in the film, it doesn't seem that these two authors actually put their theories to the test to create a painting. There were also some interesting comments in some of the reviews and articles below. The film comments that there was no underpainting or drawing in Vermeer's work - but this is contradicted by critics, as there is evidence of underpainting, and the fact that drawing done in chalk would be obliterated during the painting process. The film oddly enough shows Jenison's painting having a drawing marked on the canvas.

Another quibble was the selection of the work; probably for dramatic effect, the work selected is in the Queen of England's collection, and much was made of the fact that it was not available, but that Jenison was given an opportunity to see it privately, when in fact, the work is on view for special exhibitions, including the National Gallery.

So, still not conclusive. Did Vermeer rely on this technology? Use it in portions of paintings or only certain paintings? Or did he simply have a unique "eye" and a repertoire of artistic "tricks" to create illusions. When I look at images of all the known Vermeers, they seem to vary in their "photographic" appearance, with some looking decidedly "painterly".

Young Woman with a Water Pitcher, ca. 1662. Metropolitan Museum of Art, Marquand Collection, Gift of Henry G. Marquand, 1889 (89.15.21)

Study of a Young Woman, ca. 1665–67, Metropolitan Museum of Art. Gift of Mr. and Mrs. Charles Wrightsman, in memory of Theodore Rousseau, Jr., 1979 (1979.396.1)

Perhaps more people will be inspired to experiment with these theories (or maybe Vermeer's equipment will turn up at a yard sale) and we will have a more conclusive ending to this story.