DOCSLIB.ORG

Setting up the Palette by Carole Greene

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Setting up the Palette by Carole Greene Setting Up the Palette by Carole Greene De Anza College Cupertino, California Manuscript Preparation: D’Artagnan Greene Cover Photo: Hotel Johannes Vermeer Restaurant, Delft, Holland © 2002 by Bill Greene ii Copyright © 2002 by Carole Greene ISBN X-XXXX-XXXX-X All rights reserved. No part of this book may be reproduced in any form whatsoever, by photography or xerography or by any other means, by broadcast or transmission, by translation into any kind of language, nor by recording electronically or otherwise, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in critical articles or reviews. Printed in the United States of America. X X X X X X X X X X Address orders to: XXXXXXXXXXX 1111 XXXX XX XXXXXX, XX 00000-0000 Telephone 000-000-0000 Fax 000-000-0000 XXXXX Publishing XXXXXXXXXXXXXXXXXXXXXXXX iii TABLE OF CONTENTS FOREWORD ix CHAPTER 1- Mastering the Tools 1 An Overview 3 The Clause 15 The Simple Sentence 17 The Verb Check 21 Items in a Series 23 Inverted Clauses and Questions 29 Analyzing a Question 33 Exercise 1: Locate Subjects and Verbs in Questions 35 Exercise 2: Locate Verbs in Simple Sentences 37 Exercise 3: Locate Subjects in Simple Sentences 47 Exercise 4: Locate Subjects and Verbs in Simple Sentences 55 iv The Need to Change Reading Habits 69 The Phrase 71 A Phrase Versus a Clause 73 Prepositional Phrases 75 Common Single Word Prepositions 77 Group Prepositions 78 Developing a Memory System 79 Memory Facts 81 Analyzing the Function of Prepositional Phrases 83 Exercise 5: Locating Prepositional Phrases 89 More Practice on Identifying Prepositional Phrases and Their Function 97 The Complex Sentence 101 Subordinate Connectives 102 Recognizing, Eliminating, or Correcting the Dependent Clause Fragment 103 A Subordinate Connective Versus a Preposition 105 Punctuating the Complex Sentence 109 Complex Sentence Variations 125 v A Supplementary Punctuation Rule for the Complex Sentence 133 Exercise 6: Locating Subjects and Verbs in Complex Sentences 135 Fragment Errors 143 Infinitives and Infinitive Phrases 147 Variant Functions of the Infinitive Phrase 149 Participles and Participle Phrases 151 Flip-Flop Patterns in Prepositional and Verbal Phrases 161 Exercise 7: Making a Verb Chart 163 The Compound Sentence 165 The Semicolon 167 The Colon 169 Coordinate Connectives 173 Secondary Functions 175 Run-On Sentences 179 A Table of Sound Values 182 Speaker Clauses 183 vi Exercise 8: Joining Main Clauses in Compound Sentences 189 The Compound-Complex Sentence 195 Exercise 9: Punctuating Compound-Complex Sentences 197 Logical Connectives 205 How Versus However 211 Than Versus Then 213 A Supplementary Rule 215 CHAPTER 2 - Writing a Paragraph 217 Focusing on the Topic Sentence 219 A Fact Versus an Opinion 221 The Deductive Paragraph 223 The Inductive Paragraph 229 The Empty Paragraph 235 The Controlling Idea 239 The Dead End Fact 247 The Future-Based Statement 249 The Rhetorical Question 251 vii A Summary of Important Paragraph Concepts 253 Exercise 1: Distinguish Between a Fact and an Opinion 255 Exercise 2: Recognize Topic Sentence Parts 271 Main Clause Unity 275 CHAPTER 3 - Producing an Essay 287 Structural Similarities in a Sentence, a Paragraph, and an Essay 289 The Topic Sentence Versus a Thesis Statement 291 A Single Paragraph Versus an Introductory Paragraph 293 A Summary of Essay Writing Concepts 297 An Essay for Analysis 299 Creating an Outline 315 GLOSSARY 319 BIBLIOGRAPHY 337 viii ix FOREWORD Dear Student: Congratulations!!! If you are reading this preface, you are in all probability a student of the inimitable Mrs. Carole Greene. Carole is a superb teacher, and I congratulate her on this latest series of texts which have as subject matter the great Dutch artist, Johannes Vermeer (1632-1675). You will learn many lessons from Carole Greene that are analogous to the lessons that Vermeer teaches us. As Vermeer used light through a window to illuminate many of his subjects, Carole Greene's teaching will illuminate your learning , particularly your understanding of grammar and rhetoric. As Vermeer worked very hard and very precisely to cre- ate the detail in his thirty-five paintings, you will need to work very hard and pay attention to detail in order to be successful in this course. So you can expect this course to be difficult and to require a great deal of effort on your part. The requirements of the course are, in fact, what make it worthwhile, and what you will gain from. Expect to have second thoughts; expect to need assistance from tutors, from your peers, and from your teacher!!! But if these are the demands, what will be the rewards? In 1986, Masako Pedigo took Carole's course, full of some of the same trepidation you may be feeling. She was from Japan, had married a Navy officer, and felt very uncomfortable with her very limited English. Carole "corrected my syntax and grammar; she was very helpful. She helped me to go on to English 1A and be very successful. But above all, she gave me confidence in myself which I had not had before. This confidence made it possible for me to become a teacher myself and to teach other teachers." So while much will be expected of you, you will gain much in return. x Another thing I find so exciting is Carole's teaching of a master artist. In my own writing courses, I have used the great French sculptor, Auguste Rodin, and I have found that students not only learn to write but also receive as a bonus an education in art—and in living—that can be the basis for continued lifelong interest and study. There is another lesson here that Carole teaches by example: the need to combine your passions and your work. In order to write this text, Carole took a journey to Delft and Amsterdam over a Spring Break in order to capture many of the photographs you will see in this course. Teaching what you love is a lesson that good teachers follow; as students, you will catch the enthusiasm that your teacher has for Johannes Vermeer. Carole Greene is a great, but tough teacher. If you apply yourself to the material in this course, you will gain a mastery of writing that can be the basis for your future success in college writing and in life. You will share in Masako's confidence, but this time, it will be your own. Again, I congratulate you on your selection of Carole Greene's course; this will be a lot of work, but you can do it. May Carole and Vermeer inspire you to achieve your true, higher potential. JOHN K. SWENSSON Dean, Language Arts Division De Anza College. 1 Chapter 1 Mastering the Tools 2 3 An Overview If you were to take a close look at the history of words and how they entered the English language, one of the things you would discover is that there is a close link between the words text and textile. For example, Webster’s New World Dictionary tells the reader that the word text comes from the Latin word textus meaning fabric, structure, and text and from the past participle texere which means to weave. In English, text means the actual structure of words in a piece of writing which is sometimes referred to as the wording that is used; it also refers to the actual or original words used by an author. text (tekst) a noun: from Latin textus, fabric, structure, and text and from the past participle of texere, to weave 1. the actual structure of words in a piece of writing; wording 2. the actual or original words used by an author 4 This course is about words built up from letters. It is about sentences built up from words. And it is about paragraphs built up from carefully controlled sentence types. The dictionary also tells the reader that the word textile comes from the Latin words textilis and texere. In English, textile means having to do with weaving or with woven fabrics. It also refers to a fabric made by weaving. textile (teks-til) a noun: from Latin textilis and textus 1. having to do with weaving or with woven fabrics 2. a fabric made by weaving This is also a course about textiles. The subject matter of this book focuses on the life and work of the Dutch master painter, Johannes Vermeer. A textile is built up from a series of interlaced threads. A canvas is built up from those threads. It becomes the ground sheet for a painted surface. 5 Johannes Vermeer’s canvases are built up from carefully controlled layers of paint. They tell stories that in the words of the art historian, Johan Huizinga, portray figures whose ‘actions are steeped in mystery...where words have no sound and thoughts no form.’ The content of this book makes use of text and textiles. The course will take you, the writer, on a word-filled journey where words become sentences and sentences become paragraphs created with control and skill. That writing skill will make readers want to give you a hearing just as selected viewers of Vermeer’s artwork wanted to give voice to wordless canvases that added richness to the artist’s unspoken thoughts. 6 The Clause A clause is a group of words that contains a complete subject and a complete verb. The subject is what the sentence is about. The verb, which may be an action or a state of being, makes a statement about the subject. All sentences are determined by the number and type of clauses they contain. There are 4 main sentence types in the English language: Simple, Complex, Compound, and Compound-Complex.
Load more

Recommended publications
  • Interiors and Interiority in Vermeer: Empiricism, Subjectivity, Modernism
    ARTICLE Received 20 Feb 2017 | Accepted 11 May 2017 | Published 12 Jul 2017 DOI: 10.1057/palcomms.2017.68 OPEN Interiors and interiority in Vermeer: empiricism, subjectivity, modernism Benjamin Binstock1 ABSTRACT Johannes Vermeer may well be the foremost painter of interiors and interiority in the history of art, yet we have not necessarily understood his achievement in either domain, or their relation within his complex development. This essay explains how Vermeer based his interiors on rooms in his house and used his family members as models, combining empiricism and subjectivity. Vermeer was exceptionally self-conscious and sophisticated about his artistic task, which we are still laboring to understand and articulate. He eschewed anecdotal narratives and presented his models as models in “studio” settings, in paintings about paintings, or art about art, a form of modernism. In contrast to the prevailing con- ception in scholarship of Dutch Golden Age paintings as providing didactic or moralizing messages for their pre-modern audiences, we glimpse in Vermeer’s paintings an anticipation of our own modern understanding of art. This article is published as part of a collection on interiorities. 1 School of History and Social Sciences, Cooper Union, New York, NY, USA Correspondence: (e-mail: [email protected]) PALGRAVE COMMUNICATIONS | 3:17068 | DOI: 10.1057/palcomms.2017.68 | www.palgrave-journals.com/palcomms 1 ARTICLE PALGRAVE COMMUNICATIONS | DOI: 10.1057/palcomms.2017.68 ‘All the beautifully furnished rooms, carefully designed within his complex development. This essay explains how interiors, everything so controlled; There wasn’t any room Vermeer based his interiors on rooms in his house and his for any real feelings between any of us’.
    [Show full text]
  • Deborah Moggach, Zbigniew Herbert and Dutch Painting of the Seventeenth Century
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Jagiellonian Univeristy Repository Studia Litteraria Universitatis Iagellonicae Cracoviensis 10 (2015), z. 2, s. 131–151 doi: 10.4467/20843933ST.15.012.4103 www.ejournals.eu/Studia-Litteraria MAREK KUCHARSKI Uniwersytet Jagielloński w Krakowie e-mail: [email protected] Intertextual and Intermedial Relationships: Deborah Moggach, Zbigniew Herbert and Dutch Painting of the Seventeenth Century Abstract The aim of the article is to analyse the intertextual and intermedial relationships between Tulip Fever, a novel by Deborah Moggach, The Bitter Smell of Tulips, an essay by Zbigniew Herbert from the collection Still Life with a Bridle, with some selected examples of Dutch paintings of the seventeenth century. As Moggach does not confi ne herself only to the aforementioned essay by Herbert, I will also refer to other essays from the volume as well as to the essay Mistrz z Delft which comes from the collection of the same title. Keywords: Deborah Moggach, Zbigniew Herbert, novel, essay, Dutch paintings, intertextuality, intermediality. Zbigniew Herbert’s essay The Bitter Smell of Tulips comes from the collection Still Life with a Bridle which is a part of the trilogy that, apart from the afore- mentioned collection of essays, consists of two other volumes: Labyrinth on the Sea and Barbarian in the Garden. In each of the volumes, in the form of a very personal account of his travels, Herbert spins a yarn of European culture and civi- lization. Labyrinth on the Sea focuses on the history and culture of ancient Greece and Rome whereas in Barbarian in the Garden Herbert draws on the whole spec- trum of subjects ranging from the prehistoric paintings on the walls of the cave in Lascaux, through the Gothic cathedrals and Renaissance masterpieces, to the stories about the Albigensians and the persecution of the Knights of the Templar Order.
    [Show full text]
  • Girl with a Flute
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Attributed to Johannes Vermeer Johannes Vermeer Dutch, 1632 - 1675 Girl with a Flute probably 1665/1675 oil on panel painted surface: 20 x 17.8 cm (7 7/8 x 7 in.) framed: 39.7 x 37.5 x 5.1 cm (15 5/8 x 14 3/4 x 2 in.) Widener Collection 1942.9.98 ENTRY In 1906 Abraham Bredius, director of the Mauritshuis in The Hague, traveled to Brussels to examine a collection of drawings owned by the family of Jonkheer Jan de Grez. [1] There he discovered, hanging high on a wall, a small picture that he surmised might be by Vermeer of Delft. Bredius asked for permission to take down the painting, which he exclaimed to be “very beautiful.” He then asked if the painting could be exhibited at the Mauritshuis, which occurred during the summer of 1907. Bredius’ discovery was received with great acclaim. In 1911, after the death of Jonkheer Jan de Grez, the family sold the painting, and it soon entered the distinguished collection of August Janssen in Amsterdam. After this collector’s death in 1918, the painting was acquired by the Amsterdam art dealer Jacques Goudstikker, and then by M. Knoedler & Co., New York, which subsequently sold it to Joseph E. Widener. On March 1, 1923, the Paris art dealer René Gimpel recorded the transaction in his diary, commenting: “It’s truly one of the master’s most beautiful works.” [2] Despite the enthusiastic reception that this painting received after its discovery in the first decade of the twentieth century, the attribution of this work has frequently Girl with a Flute 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century been brought into question by later scholars.
    [Show full text]
  • The R U T G E R S a R T R E V I E W Published Annually by the Students
    The RUTGERS ART REVIEW Published Annually by the Students of the Graduate Program in Art History at Rutgers, The State University of New Jersey 1991-1992 Volume XII-XI1I Co-Editors, Volume 12: Scott Montgomery Elizabeth Vogel Editorial Board, Volume 12: Marguerite Barrett Arnold Victor Coonin David Foster Cheryl Kramer Stephanie Smith Faculty Advisor, Volume 12: Professor Matthew Baigell Editor, Volume 13: Marguerite Barrett Editorial Board, Volume 13: Shelly Adams Sheilagh Casey Arnold Victor Coonin Pamela Cohen Joanna Gardner Cheryl Kramer Stephanie Smith Faculty Advisor, Volume 13: Archer St Clair Harvey Consulting Editors Volume 12 and 13: Caroline Goeser Priscilla Schwarz Advisory Board, Volume 12 and 13: Patricia Fortini Brown, Princeton University Phillip Dennis Cate, Jane Voorhees Zimmerli Museum Joseph Connors, American Academy in Rome Patricia Leighten, University of Delaware Constance Lowenthal, International Foundation for Art Research David G. Wilkins, University of Pittsburgh Benefactors ($1,000 or more) The Graduate School, Rutgers, The State University of New Jersey The Graduate Student Association, Rutgers, The State University of New Jersey The Johnson and Johnson Family of Companies Contributors ($100 or more) Rona Goffen Supporters ($50 or more) Shelly Adams and Edgar Morales Matthew and Ren6e Baigell Catherine Puglisi and William Barcham Daniel and Patricia Sheerin Friends ($25 or more) Charles L. Barrett III M. B. Barrett Alice A. Bauer Arnold Victor Coonin Marianne Ficarra Donald Garza Marion Husid Tod Marder Joan Matter Brooke Kamin Rapaport Claire Renkin Stephen A. Somers, with an Employer Match Donation from the Robert Wood Johnson Foundation Jack Spector David and Ann Wilkins The following persons generously donated funds to Volume 11 of the Rutgers Art Review.
    [Show full text]
  • Brandenburg 23 Johannes Vermeer.Pdf
    The Brandenburg 300 Project Honors Home Page Album Notes Monterey Jazz Festival Monarch Butterfly Brandenburg #1 11: Franklin 12-3 Perricone 14: Hicks 15: Penkovsky 16 Earle 17-8 Morales Brandenburg #2 21: Martin Luther King 21: Guadalupe 21: Voyager Brandenbone 21 22: Rembrandt Van Rijn 22: Joe Manning 23: Leonardo DaVinci 23: Johannes Vermeer 23: Pythagoras Brandenburg #3 31: John Schoenoff Brandello 31 Monterey 323: Woody Woodland Brandenburg #4 41: Helen Iwanaga 42: Lloyd Pementil 43: Marie Curie 43: Albert Einstein 43: Linus Pauling Brandenburg #5 52-1: Lafayette 53: Shen Zhou Brandenburg #6 62-1: Voyager 2 63: San BirdBach Badinerie Magic Steps Brandenburg Medley Monterey Masters and the Ashokan Farewell Links and Info Home Page Album Notes Monterey Jazz Festival Monarch Butterfly Brandenburg #1 11: Franklin 12-3 Perricone 14: Hicks 15: Penkovsky 16 Earle 17-8 Morales Brandenburg #2 21: Martin Luther King 21: Guadalupe 21: Voyager Brandenbone 21 22: Rembrandt Van Rijn 22: Joe Manning 23: Leonardo DaVinci 23: Johannes Vermeer 23: Pythagoras Brandenburg #3 31: John Schoenoff Brandello 31 Monterey 323: Woody Woodland Brandenburg #4 41: Helen Iwanaga 42: Lloyd Pementil 43: Marie Curie 43: Albert Einstein 43: Linus Pauling Brandenburg #5 52-1: Lafayette 53: Shen Zhou Brandenburg #6 62-1: Voyager 2 63: San BirdBach Badinerie Magic Steps Brandenburg Medley Monterey Masters and the Ashokan Farewell Links and Info Johannes Vermeer was a Dutch painter who produced a small number of paintings, but those few are timeless masterpieces. Many of his paintings have musical themes. He died 10 years after Bach was born – the same year Bach became an orphan.
    [Show full text]
  • Johannes Vermeer's Mistress and Maid
    Mahon et al. Herit Sci (2020) 8:30 https://doi.org/10.1186/s40494-020-00375-2 RESEARCH ARTICLE Open Access Johannes Vermeer’s Mistress and Maid: new discoveries cast light on changes to the composition and the discoloration of some paint passages Dorothy Mahon1, Silvia A. Centeno2* , Margaret Iacono3, Federico Carό2, Heike Stege4 and Andrea Obermeier4 Abstract Among the thirty-six paintings ascribed to the Dutch seventeenth century artist Johannes Vermeer (1632–1675), Mistress and Maid, in The Frick Collection, stands out for the large-scale fgures set against a rather plain background depicting a barely discernible curtain. Although generally accepted as among the late works of the artist and dated to 1667–1668, for decades scholars have continued to puzzle over aspects of this portrayal. When the painting was cleaned and restored in 1952, attempts to understand the seeming lack of fnish and simplifed composition were hampered by the limited technical means available at that time. In 1968, Hermann Kühn included Mistress and Maid in his groundbreaking technical investigation ‘A Study of the Pigments and the Grounds Used by Jan Vermeer.’ In the present study, imaging by infrared refectography and macro-X-ray fuorescence (MA-XRF) revealed signifcant com- positional changes and drew focus to areas of suspected color change. Three of the samples taken by Hermann Kühn, and now in the archive of the Doerner Institut in Munich, were re-analyzed, along with a few paint samples taken from areas not examined in the 1968 study, using scanning electron microscopy–energy dispersive X-ray spectros- copy (SEM–EDS) and Raman spectroscopy.
    [Show full text]
  • EDWARD DOLNICK for Lynn It Is in the Ability to Deceive Oneself That the Greatest Talent Is Shown
    THE FORGER’S SPELL A True Story of Vermeer, Nazis, and the Greatest Art Hoax of the Twentieths Century EDWARD DOLNICK For Lynn It is in the ability to deceive oneself that the greatest talent is shown. —Anatole France We have here a—I am inclined to say the—masterpiece of Johannes Vermeer. —Abraham Bredius CONTENTS Epigraph iii Preface ix Part One OCCUPIED HOLLAND 1 A Knock on the Door 3 2 Looted Art 6 3 The Outbreak of War 9 4 Quasimodo 14 5 The End of Forgery? 18 6 Forgery 101 22 7 Occupied Holland 26 8 The War Against the Jews 30 9 The Forger’s Challenge 33 10 Bargaining with Vultures 40 11 Van Meegeren’s Tears 44 Part Two HERMANN GOERING AND JOHANNES VERMEER 12 Hermann Goering 51 13 Adolf Hitler 55 vi con t e n t s 14 Chasing Vermeer 57 15 Goering’s Art Collection 62 16 Insights from a Forger 66 17 The Amiable Psychopath 77 18 Goering’s Prize 82 19 Vermeer 85 20 Johannes Vermeer, Superstar 88 21 A Ghost’s Fingerprints 93 Part Three THE SELLING OF CHRIST AT EMM AUS 22 Two Forged Vermeers 105 23 The Expert’s Eye 109 24 A Forger’s Lessons 115 25 Bredius 121 26 “Without Any Doubt!” 127 27 The Uncanny Valley 132 28 Betting the Farm 137 29 Lady and Gentleman at the Harpsichord 139 30 Dirk Hannema 145 31 The Choice 150 32 The Caravaggio Connection 163 33 In the Forger’s Studio 167 34 Christ at Emmaus 170 35 Underground Tremors 173 con t e n t s vii Photographic Insert 36 The Summer of 1937 179 37 The Lamb at the Bank 186 38 “Every Inch a Vermeer” 192 39 Two Weeks and Counting 198 40 Too Late! 201 41 The Last Hurdle 203 42 The Unveiling 207
    [Show full text]
  • Dissertation (Einreichen)
    DISSERTATION Titel der Dissertation Towards an Encyclopaedia as a Web of Knowledge. A Systematic Analysis of Paradigmatic Classes, Continuities, and Unifying Forces in the Work of Peter Greenaway Verfasser Mag. phil. Marc Orel angestrebter akademischer Grad Doktor der Philosophie (Dr. phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin: Ao. Univ.-Prof. Mag. Dr. Monika Seidl To my parents… TABLE OF CONTENTS Acknowledgements __________________________________________________ VI List of Abbreviations and Short Titles _____________________________________ VII Preface _________________________________________________________ VIII 1. PROLOGUE ________________________________________________ 1 1.1. Peter Greenaway: A Brief Retrospective _______________________________ 1 1.2. Classifying Greenaway’s Work _____________________________________ 17 1.3. Introducing an Encyclopaedic Approach ______________________________ 25 2. THE ENCYCLOPAEDIA ______________________________________ 62 A 62 Literature 214 Air 62 M 214 Alphabet 70 Maps 214 Anatomy 81 Mathematics 225 Animals 92 Medicine 225 Architecture 92 Myth/ology 225 B 105 N 235 Biography 105 Nudity 235 Birds 112 Numbers 246 Body 112 O 258 Books 122 Ornithology 258 C 134 P 266 Cartography 134 Plants 266 Characters 134 Pornography 266 Conspiracy 147 R 267 D 158 Religion 267 Death 158 S 279 Dissection 168 Science 279 Drowning 168 Sex/uality 279 F 169 Stories 289 Flight 169 T 290 Food 169 Taboo 290 G 181 Theology 299 Games
    [Show full text]
  • Inside the Camera Obscura – Optics and Art Under the Spell of the Projected Image
    MAX-PLANCK-INSTITUT FÜR WISSENSCHAFTSGESCHICHTE Max Planck Institute for the History of Science 2007 PREPRINT 333 Wolfgang Lefèvre (ed.) Inside the Camera Obscura – Optics and Art under the Spell of the Projected Image TABLE OF CONTENTS PART I – INTRODUCING AN INSTRUMENT The Optical Camera Obscura I A Short Exposition Wolfgang Lefèvre 5 The Optical Camera Obscura II Images and Texts Collected and presented by Norma Wenczel 13 Projecting Nature in Early-Modern Europe Michael John Gorman 31 PART II – OPTICS Alhazen’s Optics in Europe: Some Notes on What It Said and What It Did Not Say Abdelhamid I. Sabra 53 Playing with Images in a Dark Room Kepler’s Ludi inside the Camera Obscura Sven Dupré 59 Images: Real and Virtual, Projected and Perceived, from Kepler to Dechales Alan E. Shapiro 75 “Res Aspectabilis Cujus Forma Luminis Beneficio per Foramen Transparet” – Simulachrum, Species, Forma, Imago: What was Transported by Light through the Pinhole? Isabelle Pantin 95 Clair & Distinct. Seventeenth-Century Conceptualizations of the Quality of Images Fokko Jan Dijksterhuis 105 PART III – LENSES AND MIRRORS The Optical Quality of Seventeenth-Century Lenses Giuseppe Molesini 117 The Camera Obscura and the Availibility of Seventeenth Century Optics – Some Notes and an Account of a Test Tiemen Cocquyt 129 Comments on 17th-Century Lenses and Projection Klaus Staubermann 141 PART IV – PAINTING The Camera Obscura as a Model of a New Concept of Mimesis in Seventeenth-Century Painting Carsten Wirth 149 Painting Technique in the Seventeenth Century in Holland and the Possible Use of the Camera Obscura by Vermeer Karin Groen 195 Neutron-Autoradiography of two Paintings by Jan Vermeer in the Gemäldegalerie Berlin Claudia Laurenze-Landsberg 211 Gerrit Dou and the Concave Mirror Philip Steadman 227 Imitation, Optics and Photography Some Gross Hypotheses Martin Kemp 243 List of Contributors 265 PART I INTRODUCING AN INSTRUMENT Figure 1: ‘Woman with a pearl necklace’ by Vermeer van Delft (c.1664).
    [Show full text]
  • Didi-Huberman, the Art of Not Describing Vermeer
    History of the Human Sciences http://hhs.sagepub.com The art of not describing: Vermeer - the detail and the patch Georges Didi-Huberman History of the Human Sciences 1989; 2; 135 DOI: 10.1177/095269518900200201 The online version of this article can be found at: http://hhs.sagepub.com Published by: http://www.sagepublications.com Additional services and information for History of the Human Sciences can be found at: Email Alerts: http://hhs.sagepub.com/cgi/alerts Subscriptions: http://hhs.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.co.uk/journalsPermissions.nav Downloaded from http://hhs.sagepub.com at UNIV OF FLORIDA Smathers Libraries on October 12, 2008 HISTORY OF THE HUMAN SCIENCES Vol. 2 No. 2 The art of not describing: Vermeer - the detail and the patch GEORGES DIDI-HUBERMAN THE APORIA OF DETAIL We are repeatedly made aware of the painful fact that painting, though it has no hidden exits and shows everything at once on a single surface, possesses a strange and awesome capacity to dissimulate. Painting will never cease to be there in front of us, like a horizon or a potential act, but never quite like the act itself. To what can this be attributed? As much, doubtless, to its material status - the substance paint itself - as to its temporal or ontological situation. It is also inseparably linked to the inherently defective nature of our gaze. The number of things we do not discern in paintings is damning evidence of this. One can therefore never learn, heiiristically speaking, how to look at a picture.
    [Show full text]
  • Wrong Colored Vermeer: Color-Symmetric Image Distortion
    Wrong Colored Vermeer: Color-Symmetric Image Distortion Hendrik Richter HTWK Leipzig University of Applied Sciences D{04251 Leipzig, Germany. Email: [email protected]. June 30, 2021 Abstract Color symmetry implies that the colors of geometrical objects are assigned according to their symmetry properties. It is defined by associating the elements of the symmetry group with a color permutation. I use this concept for generative art and apply symmetry-consistent color distortions to images of paintings by Johannes Vermeer. The color permutations are realized as mappings of the HSV color space onto itself. Color Symmetry Symmetry is an ubiquitous concept in many branches of mathematics, most clearly visible, for instance, in geometry or group theory or mathematical physics. Symmetry is even more frequently present in visual arts, for example in architecture or painting or drawing. Thus, juxtaposing mathematics and art immediately suggest dealing with symmetry. In the following, I focus on a special kind of symmetry: color symmetry. Suppose we have a geometrical object with some symmetry properties. This implies that the object in invariant under certain transformations. A complete set of these transformations yields the symmetry group G of the geometrical object. Further assume that the geometrical object is (or can be) colored. Thus, color symmetry means that the coloring of the object is consistent with the symmetry group. More specifically, an element g 2 G is called a color symmetry if g is associated with a color permutation over a color set [7]. In other words, g permutes the colors consistently by a color permutation assigning which elements of G change and which elements of G preserve colors, see for instance [1, 2, 4, 5, 6] for explicitly addressing the arXiv:2106.15179v1 [cs.CV] 29 Jun 2021 topic of color symmetry in generative art.
    [Show full text]
  • Michael Fried and Beholding Video Art Ken Wilder* University of the Arts London
    Michael Fried and Beholding Video Art Ken Wilder* University of the Arts London Abstract. In this paper, I consider Michael Fried’s recent contribu- tion to the debate around the experience of video art, made in rela- tion to the work of Douglas Gordon. Fried speculates that issues of antitheatricality may in fact be key to specifying the medium of video installation. While Fried’s position offers a useful way of framing the relation with the beholder in video art, I question how theatricality is to be thus defined. Referencing the beholding of painting, I dis- tinguish the implicit beholder from the literal spectator, and claim that the distinction has relevance for video art. However, we might welcome what seems to be an explicit acknowledgment from Fried that the position of the spectator is a contributory factor in what he terms empathic projection. I argue that video art, as a spatial practice, offers a distinct mode of reception by problematizing the position of the spectator in relation to two-dimensional figurative space to which she is excluded. 1. The hybrid nature of much contemporary art practice poses particular dif- ficulties in terms of characterizing the phenomenology of the experience of the artwork. This is particularly true of a type of work that despite its interdisciplinary nature has become a staple of gallery art, the video or film installation. Indeed, it is virtually impossible to visit any major con- temporary art event without confronting such work. And yet there is little serious philosophical investigation as to how the experience of the moving image is altered by its migration to the space of the gallery.
    [Show full text]