Reproducing Vermeer's Effects

[Alfredo]

I am fascinated by Vermeer's technique and effects. I think it would be an interesting and worthwhile effort to attempt to recreate a range of these as we are doing with the textures of Rembrandt in another thread. These effects fall into three general categories: 1.) effects achieved optically through under and overpainting 2.) effects achieved in a more alla prima manner, as in the fusing and leveling of paint, as well as texture, such as one finds in the VIEW OF DELFT 3.) Subtle effects added after close observation such as halation and the use of optical red, softening of contours by painting bands of color (I will expound), edge control, values, warm/cool, etc, throwing things in and out of focus, etc etc etc.

[Paul Rhoads]

Interesting...
I don't think of Vermeer's effects having much to do with transparancy. I also don't think they are based to any great extent on paint handling. I think what is most important, in diminishing order, is control of values (etc.), 'edge control', optical color effects including bands of color, and then the fucus thing.
Where do you see transparancy effects?

[Alfredo]

Where in my post do you read the word "transparency", Paul?

[Paul Rhoads]

Is it not implied, Alfredo my friend, in the phrase: "effects achieved optically through under and overpainting"? If the overpainting is not transparent (to some degree) would it not then fall into the catagory of an 'alla prima' effect? You might be referring to those famous underpaintings of texture suggested elsewhere, but I don't believe you are suggesting there is any of that in Vermeer--are you? In any case I don't think anyone pretends that relief effects are notable in Vermeer---though I am always glad to be shown the error of my ways!

[Orp]

Originally posted by Paul Rhoads:
Is it not implied, Alfredo my friend, in the phrase: "effects achieved optically through under and overpainting"? If the overpainting is not transparent (to some degree) would it not then fall into the catagory of an 'alla prima' effect? You might be referring to those famous underpaintings of texture suggested elsewhere, but I don't believe you are suggesting there is any of that in Vermeer--are you? In any case I don't think anyone pretends that relief effects are notable in Vermeer---though I am always glad to be shown the error of my ways!

Vermeer used weld, the transparent, fugitive yellow which was painted on top of and is now gone from the foliage of the Little Street leaving a dull blue. Also, in View of Delft, there is famously an admixture of sand in the roofs giving a very noticeable although subtle relief effect impossible to see except in person. The hat of the DC Vermeer was painted using a glaze, in fact the entire small painting was done thin enough to be considered entirely 'optical' in nature, if letting the underlayer show through counts, other than in the highlights and solid vermilion passages. Speaking of, vermilion can be thinned to a whisp - whether that makes it a glaze or a scumble is beside the point, but it is used often in shadows by many painters including Vermeer. The underpainting of the shaded part of the nose of the face of the Woman with a Pearl Earring is visible and was done in rose madder, as it said on the explanation next to it when I saw it in Chicago. Also, the gray priming itself is let bare except for a very thin layer of ultramarine on the right side of the headress of the Woman With a Balance.

[ 09. June 2008, 18:44: Message edited by: Orp ]

[Paul Rhoads]

...I think we should agree on our terms. To me 'glaze' is not synonimus with 'transparant'. A glaze--perhaps that yellow on the trees was a case--is a transparant layer which is put on as a layer (over some area). A 'hat' could not be 'painted' with a 'glaze' (per this definition). Transparant effects are of all sorts but the deliberate and controled one by which one could 'paint' a hat (or whatever) is 'velatura' (a word I could not summon up in another post). A hard line between velature and 'regular painting' (that sort of application which might define forms as well as apply colors, to state it crudely) is impossible to draw, but it is different from glazing in that it is part of 'regular painting', while a 'glaze' is applied like a layer of varnish, only sellectively.

This is my understanding of these words but, whatever the terms, a distiction should be made between a transparant viel which only modifies the color of what is benieth and notably transparant paint used in the ordinary way.

Regarding that sand effect (I didn't know that!); I wonder if our good friend Alfredo will also exclude this texture-effect from whatever he is on about, while continuing to deny us the benifit of his insights? :mad:

[Alfredo]

I have seen the view of delft in person. The grainy stuff is either sand or an emulsion that erupted.
On second thought, it does look sandy. Maybe it was a very coarse pigment beneath, similar to azurite in texture.

[Paul Rhoads]

fine! But does this texture meet whatever criteria you have for 'texture'? I mean would you say to Vermeer: '"Nope", that's not what I mean'?

[Orp]

Paul

Of course not. Vermeer would probably stare in confusion, just like I am doing right now.

You seem to be playing a shell game here, and crafting your own definition as to what amounts to painting optically, which covers any effect that relies on an underlayer to show through. There doesn't have to be any layering, just the colors blending together in the mind e.g. a Seurat detail. It has nothing to do with the amount of Albertian type modeling done with the paint itself. By your terms all painting is optical painting, since oil paint is essentially translucent to begin with, possibly excepting titanium white.

In fact, I have no idea of what you are talking about. Any application of transparent or translucent paint is done judiciously according to the purpose it is serving. You are simply creating a distinction where none exists in practical terms. Velatura is simply the Italian word for glaze.

[ 10. June 2008, 13:29: Message edited by: Orp ]

[Alfredo]

Orp, Paul is referring to another thread where we are discussing the very specific textures that Rembrandt makes after his highly polished youthful period, on to the end of his life. Paul doesn't see the difference between mere impasting of paint and the specific quality of the impastos that carry an emotional charge in remmy's work. You can see pictures of these impastos in the ven de wetering book on rembrandt; "The Painter at Work" (and play).