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HOW DID VERMEER CAPTURE LIGHT?

Girl with a Pearl Earring, oil on canvas, 1665.

Girl with a Pearl Earring, oil on canvas, 1665.

VERMEER AND THE CAPTURE OF LIGHT

Tim’s Vermeer is a documentary film showing Tim Jenison’s hypothesis: Vermeer might have created his paintings aided by an optical device, as Jenison demonstrates by recreating a Vermeer painting.

the music lesson

The Hockney–Falco Thesis

The Hockney–Falco thesis is a theory of art history, advanced by artist David Hockney and physicist Charles M. Falco. Both claimed that advances in realism and accuracy in the history of Western art since the Renaissance were primarily the result of optical aids such as the camera obscura, camera lucida, and curved mirrors, rather than solely due the development of artistic technique and skill. Nineteenth-century artists’ use of photography had been well documented.[1] In a 2001 book, Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters, Hockney analyzed the work of the Old Masters and argued that the level of accuracy represented in their work is impossible to create by “eyeballing it”. Since then, Hockney and Falco have produced a number of publications on positive evidence of the use of optical aids, and the historical plausibility of such methods. The hypothesis led to a variety of conferences and heated discussions.http://en.wikipedia.org/wiki/Hockney%E2%80%93Falco_thesis

Philip Steadman

In 2001 Professor Philip Steadman (UCL Bartlett School of Graduate Studies and the UCL Energy Institute) published a book called Vermeer’s Camera, about the evidence for the great seventeenth-century Dutch painter using a camera obscura to make his pictures.

More: The Master of Light – Johannes Vermeer

H/T Mark Dziamba

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