(flake white, cremnitz white, kerms white, Berlin white, silver white, slate white)
Prepared artificially since the earliest historical times and used until the nineteenth century, this warm white is very opaque, has outstanding brushing qualities and mixes well with every color on the artist's palette. As the name lead white suggests, it is a by-product of lead, and whatever the form of manufacture used, the purity of the color depends on the purity of the lead. Purifying processes greatly increase the cost of the product. White lead has always been one of the most important pigments in many painting techniques.
Its importance has been immeasurable, and is the only material that has been consistently used from ancient times until the present. The monopoly in lead white production was not broken until the nineteenth century, when zinc oxide became a competitor, and in the twentieth century, it has been almost completely replaced by titanium dioxide, which is superior to lead in some properties, and unlike zinc oxide, has the strong covering ability that lead white possesses. Since white in painting is the equivalent of light in nature, it has been essential to every aspect of painting: from flesh to skies, and so on.
In the Dutch and Old German process strips of lead rolled up into spirals were placed in closed earthenware jars containing acetic acid, and then pots were hen buried under tanner's bark or dung; the heat evolved by fermentation aids in the formation of white lead through an increase of carbonic acid. Very soon a thin coat of white coating forms. The white lead is then washed of and cleaned. White lead is extremely poisonous and must be handled with care.
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.
White has always played an important part in the art and craft of painting. The great part of pigments on a progressive scale of gray would fall into the medium dark to dark category. Only lead-tin yellow and lead-tin yellow are by themselves light pigments. In order to portray the light areas which are for indispensable to convey the sense of natural illumination, white must be added to heighten most of the darker pigments.
Vermeer, as all other painters of the time, used it extensively to lighten other colors and as the principal component used to depict white objects, such as ceramic jugs, white cloth (fig. 1) and the characteristic white-washed walls (fig. 2) seen in so many of his paintings.
A grainy texture can be seen on the surface of many of the lightest areas are caused by aggregates of white-lead particles. These lumpy aggregates that can "found in Vermeer's paintings have also been noted in several Frans Hal's paintings and are typical for the stack process of white lead production for which Holland was famous in the seventeenth century."1