The possible use of the by Vermeer: An artist’s investigation Jane Jelley [email protected] www.tracesofvermeer.com

Introduction The eye and experience of a modern painter might not Traces of Vermeer be considered useful to analyses of the working practice Oxford University Press of artists of the past. However, a practical approach to a 978-0-19-878972-7 | Hardback 85 colour illustrations | July 2017 painting process can yield results not achievable by the study of the artefact alone. Evidence of the use of optics in Vermeer’s Paintings (1632-1675) Did Johannes Vermeer use a camera obscura in his studio? His iconic paintings show effects that indicate the use of a lens. Investigation of lower layers of paint have revealed an unusual working procedure. Instead of preliminary sketches, researchers have found tonal plans Fig.3 Fig.4 with a striking lack of Some of Vermeer’s paintings show distortions of scale line, which give the (left), and variations in focus (right). Also, geometric impression of strong simulations by Steadman (2001) provide strong evidence that Vermeer used a camera obscura. illumination. Fig.1 Fig.2

Use of traditional materials Tracing inside the camera

Authentic, traditional materials were The direct use of the camera obscura used in this study. Ultramarine and presents practical problems. The yellow lake were refined in the projected images are upside down and studio, and experiments were made back to front, and the artist has to on the storage of paint in pigs’ work in the reduced light of the bladders, to see how these might camera booth, which means he affect painting practice. cannot trace in colour. However, if Canvases were primed with a ground of lead white, dark paint is used, this can be seen under the projection. earths, and chalk in linseed oil. It was found that the When a tracing is made on oiled paper, it can be turned thin gritty quality of bone black, ground in linseed oil, over to print the image onto a canvas, correcting its was the best choice as a tracing medium. This orientation in the process. Studio prints made like this transferred well from oiled paper to a prepared canvas. show strong tonal differences, and they lack contours: qualities present in Vermeer’s own underpaintings. Adding colour in subsequent steps Qualities of the experimental painting The printed transfer on canvas can act as an initial inventing The qualities of the experimental layer. Then colour can be painting had resonances with added subsequently in further Vermeer’s own work. Its blurred layers, in a traditional manner, appearance was due to the out in the light of the studio. imperfectly transferred print. The This method does not compromise the freedom, skill, subject appeared well lit, and some or individuality of the artist. parts of the underpainting showed Fig.1 Girl with a Pearl Earring, , The Hague. through upper layers of paint. Fig.2 X-Ray of Girl with a Pearl Earring ©KIK-IRPA Brussels, Giles de la Mare. Could Vermeer have worked with a camera obscura Fig.3 Officer and Laughing Girl, The Frick Collection, New York. Fig.4 The Milkmaid, , . using a technique something like this?