VERMEER CANA TURNER

More documents

Recommendations

Info

This section of water is part of the River Schie that flows into the Rhine of Schiedam, near Rotterdam. This part of the river has a triangular form which had been in widened in 1614 that aided the harbour of Delft. Vermeer portrays a clear river with precise ripples on the water. The placing of light and shadow from these buildings above help predict the time this image was painted and helps define the cities distance. Thin strokes of brown‐grey and grey‐blue paint show reflection on the water and these are softened with a brush. Camera obscura has been used to show shimmering in the water to emphasize the shine so that each ripple could be depicted. Vermeer uses bold colours for his painting. The main colours used are lead white, yellow ochre, natural ultramarine, and madder lake. The sky is painted with a mild brown and yellow ochres to separate the clouds from the sunlight and other bold colours are used on the roof of the buildings and sunlit areas to create a deeper perspective. Vermeer mixed sand into the paint to create and uneven surface. The grainy effect gave the painting a three‐dimensional appearance. Vermeer used camera obscura in many of his oil paintings, like “The Milkmaid”, “Woman Holding her Balance”, and many more. The figures are placed in the exact same area with sunlight coming in from the left‐hand side. Vermeer has replaced a few objects and figure gestures, making the argument if he has used camera obscura or not, highly convincing.
Johannes Vermeer, Woman Holding a Balance 1662‐63 Oil on canvas, 42,5 x 38 cm National Gallery of Art, Washington Without camera obscura, it wouldn’t be possible to create precise portraits of what you intend on revealing. A prime example of an artist from the 17th century that didn’t use camera obscura is Louis de Caullery and you can see that the background of his painting is blurred. This is possibly because he was focusing on the two building in the front but it is still the view he intended on painting that would have come with great difficulty in making it accurate. Johannes Vermeer, The Milkmaid c. 1658 Oil on canvas, 45,5 x 41 cm Rijksmuseum, Amsterdam Louis de Caullery “A View of the Campidoglio, Rome” 17th century, oil on panel, 50 x 71 cm. Private collection
Page 1 and 2: Johannes Vermeer Girl Reading a Let
Page 3 and 4: How has Vermeer, Canaletto and Turn
Page 5 and 6: Johannes Vermeer was a 17 th centur
Page 7 and 8: A few convincing points were found
Page 9 and 10: About 15 figures are portrayed in t
Page 11: This building is Schiedam Gate. Aga
Page 15 and 16: Vermeer uses thee clouds that are a
Page 17 and 18: A fully‐clothed maid is portrayed
Page 19 and 20: An 18 th century artist named Giova
Page 21 and 22: Canaletto produces a rococo approac
Page 23 and 24: On the left of the painting, Canale
Page 25 and 26: Canaletto painted Piazza San Marco
Page 27 and 28: Past the columns you can just about
Page 29 and 30: Joseph Mallord William Turner Self
Page 31 and 32: Turner produced many Venetian paint
Page 33 and 34: Like in many of Canaletto’s Venic
Page 35 and 36: During a time of evolving adaptatio
Page 37 and 38: Turner uses warm tones on the Thame
Page 39 and 40: Mauritshuis. Published NA. “Johan

VERMEER CANA TURNER

Create successful ePaper yourself

Delete template?

Save as template?