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Essential Vermeer 3.0
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Did Vermeer make mistakes? What is the Milkmaid preparing in her kitchen? Is the Girl with a Pearl Earring really a masterpiece and is her pearl a fake? Why did the artist's reputation vaporize so quickly after he died? What tricks and special colors did he use?

Bolstered by his lifelong study of Vermeer and by his decades of experience as a professional painter, Jonathan Janson, author of the Essential Vermeer website, takes an original stance and explains Vermeer's life and work in more human and down-to-earth terms. In this lavishing illustrated study, the author offers 25 rare glimpses into the artist's day-to-day experiences and struggles both inside and outside the confines of his studio.

25 Things You (Probably) Didn't Know about Vermeer: Tricks, Troubles and Triumphs of a Great Dutch Master
Jonathan Janson
2021 | PDF | $6.95

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"Dead Coloring," or Underpainting

After the initial outline drawing was completed, Vermeer began the "dead coloring" (or underpainting as it is called today), one of the most important stages in his working procedure. Without a thorough knowledge and mastery of the underpainting technique, the extraordinary unity which characterizes Vermeer's most mature pictures may not have been easily achieved. The underpainting technique greatly facilitates the realization of finely balanced compositions, accurate depictions of light and chromatic subtleties.

Underpainting is rarely practiced today. For the last century, artists have simply begun painting directly on pre-prepared white canvases with full color surpassing anything but an abbreviated drawing. Therefore, neither the function nor the practice of underpainting is well understood.

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. But to gain the clearest picture of Vermeer's day-to-day methods we must not only look at what went on his inside studio but inside the studios of his most accomplished colleagues as well.

Looking Over Vermeer's Shoulder, then, lays out in clear, comprehensible language every facet of 17th-century and Vermeer's painting practices including training, canvas preparation, underdrawing, underpainting, glazing, palette, brushes, pigments and composition. Also investigated are a number of key issues as they relate specifically to Vermeer such as the camera obscura, studio organization as well as how he depicted wall-maps, floor tiles, pictures-within-pictures, carpets and other of his most characteristic motifs.

Bolstered by his qualifications as a practicing painter and a Vermeer connoisseur, 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)
pages: 294
format: PDF | 3 volumes
illustrations: 200-plus illustrations and diagrams

3 Volumes: $29.95 | $14.95


Looking Over Vermeer's Shoulder

VOL I (11MB)

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


Looking Over Vermeer's Shoulder

VOL II (17MB)

8 / Perspective
9 / Camera Obscura Vision
10 / Light & Modeling
11 / Studio
12 / Four Essential Motifs in Vermeer’s Oeuvre
13 / Drapery
14 / Painting Flesh


Looking Over Vermeer's Shoulder

VOL III (13MB)

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

In its simplest terms, an underpainting is a monochrome version of the final painting that fixes the composition, gives volume and substance to the forms, and distribute darks and lights in order to create the effect of illumination. The lack of color probably explains the word "dead" in the term "dead painting." Color was applied over the underpainting only when it was thoroughly dry. Underpaintings were usually executed in warm earth tones over neutral gray or warm brown grounds. Raw umber, at times mixed with black, were frequently used for this purpose. Cool gray underpaintings were also employed. An example of a sketchy brown underpainting can be seen in the right-hand side of the face of an unfinished portrait by the Italian painter Andrea del Sarto. Relatively ew underpaintings have survived.

Andrea del Sarto
Portrait of a Woman in Yellow (detail of an unfinished portrait showing the underpainting in the shadowed side of the face)
Andrea del Sarto
c. 1529–1530
Oil on poplar panel, 64.3 x 50.1 cm.
The Royal Collection, Buckingham Palace, London
Andrea del Sarto
The Sacrifice of Isaac
Andrea del Sarto
c. 1527
208 x 171 cm.
Cleveland Museum of Art, Cleveland, Ohio

In this unfinished painting, the angle has been underpainted in monochrome browns while the color has begun to be roughed in the early stages of the working-up stage.

In Leonardo da Vinci's unfinished Adoration of the Magi (fig. 1), both the initial drawing (of the Virgin) and various stages of the underpainting (of the infant Jesus) can be clearly seen. Rubens used white to heighten the illuminated areas of the underpainting.

underpainting, leonardo da Vincifig. 1 Adoration of the Magi
Leonardo da Vinci
1481–1482
Oil on panel, 246 x 243 cm.
Galleria degli Uffizi, Florence

Thus, with a minimum of effort, the artist was able to envision the totality of his pictorial idea. He could observe the defective parts and correct them with relative ease, for it is far easier to model form with a few neutral tones than with more complex color mixtures. Even broad areas of the canvas which seemed too dark could be easily worked up and lighter ones darkened. The degree of finish and the exact colors used in the underpainting stage varied from school to school and even painter to painter. It cannot be ascertained if Vermeer defined his underpainting as accurately as those of Leonardo, but laboratory evidence indicates that they were more sketchy. Vermeer generally used black and brown in his underpainting.

Rembrandt and Rubens, in particular, are know to have used underpainting very effectively. It is believed that artists once kept a number of underpaintings in their studio waiting for clients' interest before completing the painting with full color and detail.

Underpainting was not only a rapid and economical way to envision and elaborate the composition, it aided the painter to create a number of optical effects that cannot be achieved by direct mixing of paint.

Vermeer's Underpainting

It now seems certain that underpainting was a fundamental step in Vermeer's creative process. Laboratory analysis demonstrates that in the underpainting stage, the artist made many major and minor alterations in the type, placement and dimensions of objects found in his compositions.1 Chairs, maps, framed paintings, musical instruments, baskets, a standing cavalier and even a dog can no longer be seen where they were originally represented. Vermeer probably painted them out in the underpainting stage having seen that they did not produce the desired effect or distracted from the painting's theme. He changed the positions of arms and fingers to create precisely the gesture he desired. Edges of maps were moved to the left or right to stabilize the composition. The contours of a young women's garments were altered to make them more elegant, and shadows were lightened or darkened, all depending of the effect of the underpainting.

It has been noticed that in The Geographer there are various passages that seems to have been left uncompleted or that have become exposed over time. Perhaps, a significant part of the deep shaded area of the carpet reveals Vermeer's method of underpainting. If this is so, his method would appear similar to those of his contemporaries.

The Geographer, Johannes Vermeerfig. 2 The Geographer (detail)
Johannes Vermeer
c. 1668–1669
Oil on canvas, 53 x 46.6 cm.
Städelsches Kunstinstitut, Frankfurt am Main, Germany

Did Vermeer Use the Camera Obscura to Define His Underpaintings?

aternatetext fig. 4 18th-century portable camera obscura

Lawrence Gowing, a painter and one of the most penetrating of Vermeer scholars, believed that an x-ray photograph of the face of the Girl with a Pearl Earring (fig. 3) constitutes evidence of the artist's painting method. X-rays images reveal the presence of lead, which is the primary component of lead white, the principal white pigment used by painters until the mid-19 century. Gowing assumes that the white areas of the image correspond the underpainting stage and was a direct transcription of the incidence of light on the screen of the camera obscura (fig. 4) . Particularly suggestive of the camera obscura's effect is the perfectly spherical highlight of the pearl earring which has been altered in the final version. The same can be said for the dim highlight of the right-hand eye. To explain the difference between the underpainting and the final image Gowing held that "the artist, evidently proceeded, in finishing the picture, to mediate between objectivity and convention."1 Since the x-ray image only reveals the presence of the heavier lead white and the remaining areas are registered as black, contrast is exaggerated.

Girl with a Pearl Earring (x-ray image), Johnnes Vermeerfig. 3 Girl with a Pearl Earring (x-ray image)
Johnnes Vermeer

Gowing's idea has been corroborated by Phillip Steadman's more recent hypothesis that Vermeer may have used the camera obscura not only to trace the projected camera obscura image on the canvas, but also to paint in strict correlation with camera obscura image always close at hand.

A Hypothesis of Vermeer's Underpainting Methods

The image below (fig. 5) shows a reasonable hypothesis of Vermeer's underpainting method, as conceived by the author of this website, Jonathan Janson.

Click here to access a large image of the underpainting.

Girl in Hyacinth Blue, Jonathan janson
fig. 5 Girl in Hyacinth Blue (underpaintings stage)
Jonathan Janson
2002
Oil on canvas
Hallmark Corporation, St. Louis

† FOOTNOTES †

  1. A relatively new technique called infrared reflectography is able to evidence black pigment that is concealed under other layers of paint. Although it has been extremely valuable as a method for analyzing old masters underpainting, the picture it produces is not entirely accurate since shades of browns (umber usually), which are not revealed by the method, were very often mixed in varying proportions with black. Unfortunately, while laboratory analysis can identify the existence of Vermeer's underpainting, its exact nature cannot be determined since is as its name implies, it lies under other layers of paint and therefore is only partially visible. To complicate matters, Vermeer himself seemed to have experimented with different techniques throughout his career and mostly likely with different kinds of underpainting as well. However, a few preserved examples of unfinished paintings reveal standard underpainting procedures, and Vermeer's methods probably did not vary a great deal from them.
  2. Lawrence Gowing. Vermeer. Berkeley CA: University of California Press, 1997.

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