exam TURNER CANA VERMEER

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The term 'camera obscura' translates into 'dark chamber', as its most basic form was a dark room, windows shuttered, with a small hole on one wall. This method uses the sun to portray outlines onto a canvas to give accurate perspectives of what your trying to reveal. Once the light enters the room through the hole, the image outside is transposed invertedly onto the opposite wall. The light travels in a straight line also known as rectilinear propagation of light. The size of the hole influences the image as a small hole creates a sharp but dim image and a larger hole produces a brighter picture but less focused, with the sun only being clearly visible. It is suggested that Johannes Vermeer was the pioneer of a method called camera obscura. It is not certain that Vermeer used camera obscura but the evidence and layout of his composition has led many to believe that he used this technique in his later works as an aid for his painting. The camera obscura was the prototype of the photographic camera, but without the lightsensitive film or plate. Camera obscura changed around the mid- 16th century after a man called Cardano replaced the pinhole with a lens, which was described in his book “De Substilitate Libri. This increased the brightness and image size. You could focus the image by moving the lens or the viewing surface.
A few convincing points were found in the visual qualities produced by Vermeer in his paintings to support the argument he used camera obscura. Variations principal planes of focus; precise diminution of ++; halation of highlights; precise treatment of reflections; closeness of the point of view to the window wall; precise convergence of parallel lines located in a plane perpendicular to the viewing axis; use of curtains to darken viewing room and control subject illumination; relative detail in still life portion versus figure detail; consistent proportions of the paintings (4-5:5 or almost square); dimensional precision in rendering objects. It is suggested Vermeer used this method on the “View of Delft”. This oil painting was painted on canvas around 1659-60, measuring 97cm x 116cm, which is now placed in Mauritshuis, The Hague. The painting was always labelled as his masterpiece and the most famous cityscape of the Dutch Golden Age, which covered majority of the 17th century. It was sold for the upmost amount of 200 guilders in the 1696 auction of Dissius’s 21 Vermeer. The Mauritshuis bought it in 1822 for 2,900 guilders by the Dutch King, Willem I.
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