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Johannes Vermeer of Delft [1632-1675] and Vision in Neuroendoscopy Waleed A

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Johannes Vermeer of Delft [1632-1675] and Vision in Neuroendoscopy Waleed A OPEN ACCESS Editor: Surgical Neurology International James I. Ausman, MD, PhD For entire Editorial Board visit : University of California, Los http://www.surgicalneurologyint.com Angeles, CA, USA Review Article Johannes Vermeer of Delft [1632-1675] and vision in neuroendoscopy Waleed A. Azab, Daniel M. Prevedello1, Ricardo L. Carrau2 Department of Neurosurgery, Ibn Sina Hospital, Kuwait City, Kuwait, 1Department of Neurosurgery, 2Department of Otolaryngology‑Head and Neck Surgery, The Ohio State University Medical Center, Columbus, Ohio, USA E‑mail: *Waleed A. Azab ‑ [email protected]; Daniel M. Prevedello ‑ [email protected]; Ricardo L. Carrau ‑ [email protected] *Corresponding author Received: 02 March 14 Accepted: 19 June 14 Published: 05 August 14 This article may be cited as: Azab WA, Prevedello DM, Carrau RL. Johannes Vermeer of Delft [1632-1675] and vision in neuroendoscopy. Surg Neurol Int 2014;5:123. Available FREE in open access from: http://www.surgicalneurologyint.com/text.asp?2014/5/1/123/138206 Copyright: © 2014 Azab WA. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Abstract Background: Johannes Vermeer of Delft [1632-1675] was one of the greatest Masters of the Dutch Golden Age who was intensely preoccupied with the behavior of light and other optical effects and was entitled “The Master of Light”. He fastidiously attended to the subtleties of visual expression through geometry, composition, and precise mastery of the rules of perspective. It has been our impression that some visual similarity does exist between neuroendoscopic images and some of Vermeer’s paintings. Such a relation could be explained by the fact that optical devices are utilized in producing both types of display. Methods: We reviewed the pertinent medical and art literature, observed some video clips of our endoscopy cases, and inspected digital high resolution images of Vermeer’s paintings in order to elaborate on shared optical phenomena between Access this article neuroendoscopic views and Vermeer’s paintings. online Website: Results: Specific optical phenomena are indeed shared by Johannes Vermeer’s www.surgicalneurologyint.com works and neuroendoscopic vision, namely light and color effects as well as the DOI: rules of perspective. 10.4103/2152-7806.138206 Quick Response Code: Conclusion: From the physical point of view, the possibility that a camera obscura inspired Vermeer’s artistic creation makes the existence of a visual link between his paintings and the endoscopic views of the intracranial cavity comprehensible. Key Words: Light, neuroendoscopy, Vermeer, vision INTRODUCTION of Light” by some contemporary art scholars.[20] He fastidiously attended to the subtleties of visual expression Johannes Vermeer of Delft [1632-1675] was one of through geometry, composition, and precise mastery of the greatest Masters of the Dutch Golden Age and the rules of perspective.[30] Vermeer most probably used unquestionably the most talented genre painter in a camera obscura in observing the views he painted and Holland during the seventeenth century.[4] He was was likely influenced by the Dutch scientist and lens intensely preoccupied with the behavior of light and other maker Antonie van Leeuwenhoek [1632-1723] who lived optical effects[13] so that he was entitled “The Master in the same city of Delft during Vermeer’s life.[8,19,20] Surgical Neurology International 2014, 5:123 http://www.surgicalneurologyint.com/content/5/1/123 On contrary to the preceding and contemporary painters’ but the same phenomena can be seen in paintings by his works, Vermeer paintings were uniquely characterized contemporaries, Rembrandt van Rijn, Jacob van Ruisdael, by a profound optical realism that created a compelling Frans Hals, and Jan Steen. They also had a remarkable sensation of objects being seen, not simply depicted knowledge of the interplay of light and dark, they also often [Figure 1].[14,21,33] This feature was extremely eminent so used sharp contrasts as to lead the viewer into the scenery, that some of his works were even described to exhibit a resulting in vivid scenes full of drama. [18,19] certain photographic quality. Light and color effects in neuroendoscopy and Comparably, when endoscopes were used intracranially for in Vermeer’s works the first time, neurosurgeons witnessed a world of unique Light and color are basic elements of the process of visual experience that they have never encountered visualization in neuroendoscopy[7] as they certainly are in before. Such visual realm subsequently developed into Vermeer’s work. In this context, it is important to take in an unprecedented level of definition in displaying consideration that Vermeer is known to have learnt the pathoanatomical details offered by the state-of-the-art relationships of light and shadow through several forms rod-lens endoscopes.[2,25] of experience including observing images produced by optical devices of his time.[15] It has been our impression that some visual similarity does exist between neuroendoscopic images and some Vermeer had a strong preference for cornflower blue of Vermeer’s paintings [Figures 2 and 3]. Although this and lead-tin yellow. In the seventeenth century, many may seem subjective, such a relation could be explained pigments had to be imported from far and hence by the fact that optical devices are utilized in producing they were expensive, like the ultramarine blue from both types of display. Specific optical phenomena Afghanistan, the umber (earthy brown) color from are indeed shared by Johannes Vermeer’s works and Umbria in Italy, indigo from Asian countries such as neuroendoscopic vision, namely light and color effects India, and a very precious yellow pigment made by as well as the rules of perspective. Since we believe heating red lead and tin dioxide. This yellow color that exploring such a relation touches an artistic and is famous from the yellow jackets he has painted in aesthetic aspect of neurosurgery that is worth exposure several paintings, the most well-known being The and analysis, we searched the pertinent medical and Milkmaid. art literature, reviewed video clips of our endoscopy Light effects cases, and inspected digital high resolution images In endoscopic neurosurgery, the endoscope brings of Vermeer’s paintings in order to elaborate on these the light source and lens closer to the pathology shared optical phenomena. It should be emphasized providing brightly illuminated and detailed panoramic that this work is a discussion of the philosophy of vision views of the target structure within its intracranial in neuroendoscopy and Vermeer’s artistic creation and environment [Figure 4].[23-26] This is peculiarly similar is not intended to imply that the two visual outputs are to Vermeer’s method of placing human figures in a identical. coherent three-dimensional space filled with natural Endoscopic images “come to life” by the same Claire-obscure light [Figure 5].[9] Such immersion in light made art light as in the paintings of the Baroque masters like Vermeer, critics describe objects in Vermeer’s interior views Figure 1: Sense of reality in Vermeer's works. Left: Detail from The Milkmaid. Note the almost real appearance of the hanging basket, the cupper vessel and the broken glass of the window. (With permission from Rijksmuseum, Amsterdam, The Netherlands). Middle: Detail from The Glass of Wine. Note the reflection of light on the glass and the lady's nail paint. (Photo credit © bpk - Bildagentur für Kunst, Kultur und Geschichte, Berlin - Staatliche Museen, Gemäldegalerie, Berlin - Jörg P. Anders - Johannes (Jan) Vermeer van Delft, Das Glas Wein). Right: Detail from The Little Street. The rusty metal hinges of the wooden window shutters contribute to the wary appearance of the old house. (With permission from Rijksmuseum, Amsterdam, The Netherlands) Surgical Neurology International 2014, 5:123 http://www.surgicalneurologyint.com/content/5/1/123 as being bathed in cool pearlescent light[21] that Vermeer’s depiction of windows through which light flows characteristically infuses space, color, and form with a into his interior scenes is a very special feature of his art[21] luminous unity[33] and is in complete accordance with the that shares an important conceptual relation to vision in laws of physics [Figures 5-8].[32] neuroendoscopy. During neuroendoscopic procedures, strategically placed anatomical windows are created to precisely and deeply illuminate the objects within an intracranial chamber unveiling their visual details. Observing the known 35 works of Vermeer, we found that windows are the source of light in 15 paintings. In 10 other works, windows are present at a hidden part of the composition, in other words their presence can only be concluded by the viewer when light intensities and directions of shadows in the painting are followed. Color effects As high color fidelity contributes to producing true color neuroendoscopic images indispensable for real differentiation between various tissues [Figure 4B],[25] Vermeer’s remarkable sensitivity to color and his complete understanding of its optical characteristics[35] made objects in many of his paintings look almost real [Figure 1].[14,21] His coloring techniques clearly reflected Leonardo da Vinci’s [1452-1519] observations that the surfaces of objects share the color
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