Historical Painting Techniques, Materials, and Studio Practice
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Based on intensive studies of various means used to create " church portraits,"<br />
de Boer concluded in 1988 that optical devices were not generally used by<br />
artists in the Netherl<strong>and</strong>s around 1650 (25). Interestingly, he notes that the<br />
reason for this would probably be the difficulty of combining the use of a<br />
camera obscura (for tracing an image) with actually painting a painting.<br />
Recently, Arasse made a general comparison of the position of the horizon<br />
<strong>and</strong> the viewpoint in Vermeer paintings (26). He notes that the viewpoint<br />
gradually lowered between 1656 <strong>and</strong> 1661. According to Arasse, Vermeer<br />
tended to combine a low viewpoint with a high horizon. Arasse considers<br />
the often very low viewpoint in relation to the depicted figures to be a special<br />
effect that Vermeer deliberately wanted to create in order to draw the viewer<br />
into the scenes. This statement shows that Arasse considers Vermeer's intention<br />
to be the creation of an illusionistic spatial setting as an imaginative<br />
process rather than the rendering of a known space, an opinion this author<br />
shares.<br />
Present research<br />
In the following paragraphs, results from the author's latest research on this<br />
aspect of Vermeer's painting technique are presented. Through a thorough<br />
study of the actual paintings, mostly out of their frames <strong>and</strong> placed under a<br />
stereomicroscope, certain surface phenomena in the paint layer have been<br />
observed. Together with X-radiographs <strong>and</strong> other photoanalytical means such<br />
as ultraviolet <strong>and</strong> infrared photography, a compilation of information has been<br />
possible, leading to the conclusion that Vermeer did not paint "naar het leven"<br />
(after life), as suggested by the majority of scholars mentioned above, but that<br />
as a craftsman he created a spatial illusion with the masterly h<strong>and</strong> of an<br />
outst<strong>and</strong>ing artist.<br />
In 1949 Hulten was the first to actually record a discernible vanishing point<br />
in one of Vermeer's paintings. He observed that just below the left knob of<br />
the map hanging on the rear wall in The Allegory of <strong>Painting</strong> there was a small<br />
irregularity in the paint layer which coincided with the central vanishing<br />
point of the composition (27).<br />
Indeed, fo r Vermeer the central perspective was the main guideline for his<br />
interiors. Current examinations reveal that the vanishing point can still be<br />
fo und in most of his interior scenes (28). It can be seen (with the naked eye<br />
or more easily with a stereomicroscope) that Vermeer must have attached a<br />
pin at the vanishing point in the painting, resulting in the loss of minuscule<br />
amounts of paint <strong>and</strong> ground. X-radiographs can be used to find the black<br />
spot where the ground containing lead white is missing between the threads<br />
of the canvas. Having inserted the pin at the vanishing point, Vermeer would<br />
have used a string to reach any area of his canvas to create perfect orthogonals<br />
for the perspective.<br />
Vermeer's method is far from unique; among the architectural painters of his<br />
time it was well known. Gererd Houckgeest (1600-1661) <strong>and</strong> Emanuel de<br />
Witte (1617-1 692) practiced this method, which Pieter Saenredam (1597-<br />
1665) had already brought to perfection (29, 30). Vermeer's slightly older<br />
colleague Pieter de Hooch (1629-1683) also used a single vanishing point.<br />
Similarly, in paintings by Gerard Dou (1613-1675), Gabriel Metsu (ca. 1629-<br />
1667), <strong>and</strong> others, we again find irregularities in the paint where a pin was<br />
placed at the vanishing point.<br />
The method of using a chalk line to indicate lines is still used by painters<br />
<strong>and</strong> other artists when planning illusionistic interiors (e.g., with marbling, a<br />
specialty developed during the Baroque period) . That this kind of illusionistic<br />
painting was known to Vermeer is clear from the virginals in the two London<br />
paintings, both of which have been "marbled."<br />
In order to transfer the line indicated by the string, chalk is applied to the<br />
string. Holding the string taut from the pin inserted at the vanishing point,<br />
150<br />
<strong>Historical</strong> <strong>Painting</strong> <strong>Techniques</strong>, <strong>Materials</strong>, <strong>and</strong> <strong>Studio</strong> <strong>Practice</strong>