(Caledonite, Glauconite, Terra Verde of Verona, Ciprus Green)
The production of paint is a simple but demanding chore. The necessary knowledge to grind paint was acquired through the traditional apprentice-master relationship. Grinding paint was one of the principal daily chores of the apprentice. It left the master greater time and energy to spend on the creative act of painting. Raw materials could be acquired from a number of sources. In the studio, these raw materials had to cleansed and properly prepared for making paint. The fact there exists absolutely no historical evidence that indicates that Vermeer ever had an apprentice reinforces the idea that the artist produced his own paint.
Although the principal of hand grinding paint is fairly simple, the actual practice presents many subtleties which can be only mastered through experience.
First, some dry pigment must be put in the center of the grinding slab with the addition of the binder. If the pigment does not accept the bind, it may be wetted with a small quantity of water. The two base components must be mixed with a spatula until a very stiff paste is obtained. A small amount (about a tablespoonful) of color paste is scooped up with the palette knife and placed on the center of the slab. Using a muller, the paste must be ground with light pressure and a circular motion, gradually widening the circle until most of the slab is covered with the color. This paste must be continuously ground until it is very smooth and no grittiness can be heard as the muller goes over it. Once the color is sufficiently ground, it can be called paint. If the paint becomes too liquid when it is ground with the muller, more dry pigment can be mixed into it before proceeding further. Little by little, small batches of the paste are ground with the muller until each has the same consistency. The final paint, depending on the base ingredients, must be have a smooth, buttery consistency that will stand up in peaks like commercially produced tube paints. When all the paste has been thus ground into paint, it must be mixed well with the spatula in the center of the slab ground quickly once more time to ensure a homogeneous quality through the whole batch.
The complete book about seventeenth-century painting techniques and materials with particular focus on the painting of Johannes Vermeer.
2020 | PDF | 3 volumes | 294 pages
Looking Over Vermeer's Shoulder is a comprehensive study of the materials and painting techniques that made Vermeer one of the greatest masters of European art. In order to form the clearest picture of his day-to-day methods we must not only look at what went on inside Vermeer's studio, but what went on inside the studios of his most accomplished colleagues as well.
Looking Over Vermeer's Shoulder, then, lays out in comprehensible language every facet of 17th-century painting practices including topics such as artistic training, canvas preparation, underdrawing, underpainting, glazing, palette, brushes, pigments and composition. Also investigated are a number of issues as they relate specifically to the art of Vermeer such as the camera obscura, studio organization as well as how he depicted wall-maps, floor tiles, pictures-within-pictures, Turkish carpets and other of his most characteristic motifs.
Bolstered by his qualifications as a Vermeer connoisseur and practicing painter, the three-volume PDF format permits the author to address each of the book's 24 topics with requisite attention. By observing at close quarters the studio practices of Vermeer and his preeminent contemporaries the reader will acquire a concrete understanding of 17th-century painting methods and gain a fresh view of Vermeer's 35 works of art, which reveal a seamless unity of craft and poetry.
While not written as a "how-to" manual, aspiring realist painters will find a true treasure trove of technical information that can be apapted to almost any style of figurative painting.
Looking Over Vermeer's Shoulder (beta version)
author: Jonathan Janson
date: 2020 (second edition)
format: PDF | 3 volumes
illustrations: 200-plus illustrations and diagrams
3 Volumes: $29.95
All three volumes can be purchased individually below.
VOL I (11MB) $11.99
1 / Vermeer's Training, Technical Background and Ambitions
2 / An Overview of Vermeer’s Technical & Stylistic Evolution
3 / Fame, Originality & Subject Matter
4 / Reality or Illusion: Did Vermeer’s Interiors ever Exist?
5 / Color
6 / Composition
7 / Mimesi & Illusionism
VOL II (17MB) $11.99
8 / Perspective
9 / Camera Obscura Vision
10 / Light & Modeling
11 / Studio
12 / Four Essential Motifs in Vermeer’s Oeuvre
13 / Drapery
14 / Painting Flesh
VOL III (13MB) $11.99
15 / Canvas
16 / Grounding
17 / “Inventing,” or Underdrawing
18 / “Dead-Coloring,” or Underpainting
19 / “Working-up,” or Finishing
20 / Glazing
21 / Mediums, Binders & Varnishes
22 / Paint Application & Consistency
23 / Pigments, Paints & Palettes
24 / Brushes & Brushwork
* please note:
Looking Over Vermeer's Shoulder has not undergone a final copy edit, so minor errors in grammar, footnotation and image captions may be occasionally encountered. As soon as the final copy edit becomes available the purchaser will be notified and, on request, receive it without delay or charge.
Each pigment absorbs different quantities of binder and in order to produce the most permanent and brilliant pain. The artist must also know how long he must grind each of them. Some pigments must be ground for extended lengths of time to create a suitable paste. Others quickly lose their brilliance if ground too much. For example, if the brilliant natural ultramarine is over ground, it will produce a dull gray. In general however, hand ground paint used in Vermeer's times was not so homogenous as today's commercially sold paints which are passed through rollers in order to bring them all to the same degree of coarseness. The difference in color between the dry and wet pigment in some cases may be dramatic (fig. 1).
Ernst van de Watering (Rembrandt: The Painter at Work) provides convincing evidence that apprentices prepared a limited amount of paints depending on the what the master intended to paint that day (fig. 2) rather than the whole range of available colors. This practice finds its roots in the logic of contemporary painting methods. After having first blocked in the general forms, composition and lighting scheme in a monochrome grayish underpainting, the artist then proceeded to complete separate areas of the painting one at a time usually in a single sitting.
Historical evidence demonstrates that paint was already being commercially produced in the mid-seventeenth century in major artistic centers in the Netherlands. However, it is not to know exactly to what extent painters employed pre-prepared paint since production methods are unknown. Thus, the presence of commercially prepared pigment cannot be determined by laboratory analysis. However, in the light of Vermeer's perfectionist approach to the thematic, compositional and stylistic components of his art, it might be safely assumed that he was more apt to have made his own paint in order to ensure the exact qualities he desired. This attitude is confirmed by his rather uncommon use of the finest grade of the costly natural ultramarine (crushed natural lapis lazuli) instead of the cheaper azurite.
Metal tubes1 were widely employed only in the mid 1800s so excess paint which had not been used could be kept temporarily in pig's bladders or emerged over night in water to prevent contact with oxygen which induces drying. As already stated, paints of the past had different consistencies than paints in tubes today. Moreover, each artist could impart to his paint the particular qualities he may have desired.
Painters could acquire their materials from shops specialized in artist's materials, apothecaries, sailors from abroad and even quack doctors. It should be noted that "it was quite common for painters to buy equipment outside the cities where they worked. If we examine the accounts of Crijn Hendrikszoon Volmarijn, the major dealer in painter's materials known from Dutch sources of this period, who was active in Rotterdam in the first half of the seventeenth-century, we find that he had a large number of clients from Delft."2 Materials could also be easily found in Utrecht and Amsterdam were great number of artists lived. However, "in the city of Delft there seems to been an accumulation of specialized knowledge of the nature, composition and application of pigments and other substances used in painting. In addition to the painters themselves, there was also a group of apothecaries and artisans (largely involved in producing Delftware) who were experienced in the production of pigments."3
It is known that Vermeer had accumulated a debt with the apothecary in Delft where he is believed to have purchased some of his artists materials. Lead-tin yellow, the characteristic lemon yellow tone in Vermeer's paintings, was listed among the materials in the apothecary's ledgers. In the nearby city of Leiden "a Danish student attending the Leiden University described the situation there by remarking that Leiden held public sales of cartloads of books on topics such as pharmacopoeia, pigments, drugs and herbs. The only color not listed in any of the existing shop inventories is ultramarine; this must have been obtained through another channels."4
Vermeer, differently from his contemporaries, made extensive use lapis lazuli, a semi-precious stone used in the production the costly natural ultramarine. In any case, Vermeer had no lack of either the materials or the knowledge necessary to produce the highest quality paints.