After Vermeer had defined the composition and the basic lighting scheme with the underpainting, he proceeded to the next stage called "working-up." Working-up in Dutch was called "opmaken" which means "to finish." "During the working-up stage the main concern was to give everything its correct coloring, to render materials appropriately, and to fix the final contours of the forms." 1 Each distinctive area of the painting was executed as a separate entity and finished in one or two sessions. Whenever it was necessary to achieve strong, bright colors, (for red, yellow and blue robes and the like), the passage concerned was executed within carefully delineated contours in accordance with a fixed recipe, involving a specific layering or fixed type of underpainting."2
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.
The technique of completing paintings one area at a time evolved when water based tempera, which is technically even more limiting than oil paint, was in universal usage. An example of this procedure can be observed in Michelangelo's unfinished Manchester Madonna (fig. 1). Painters generally worked up one passage at a time (fig. 2), roughly analogously to the manner in which the fresco painter painted successive areas of wet plaster called "giornate."
There are essentially two reasons for painting piecemeal one area at a time. The first is that painters of Vermeer's age had to grind their paints by hand each day.3 Neither the vast number of pigments, nor the pre-prepared paint in convenient metal tubes existed until the mid nineteenth-century. Since hand grinding is a laborious and time consuming chore, artists had learned to limit the number of costly paints necessary for the day's work by painting in a restricted area where few colors were necessary. Moreover, each pigment presented its own inherent possibilities and limitations, and were thus combined only when necessary. Permanence, workability, compatibility and drying qualities could differ so strongly from one pigment to another that is was normal to use pigments in the purest form possible or mixed with a very limited number of other pigments. In fact, contemporary representations of artists at work generally show them holding very small palettes with few colors.
The second reason for completing one area at a time was that paintings were oftne more complex in composition and far more detailed than they are today. This was even more so when the multi-step working method was being perfected during previous centuries by artists such as Jan van Eyck and Albrecht Dürer. In effect, because each passage of the painting corresponded to a distinct visual experience, a different technical approach was required in order to convincingly render its visual experience. The luxurious sheen of satin could not be rendered with the same technique used for the rough texture of the bark of an ancient tree. For example, Vermeer most likely used a stiff bristle hog's-hair brush to manipulate of the heavy impasto necessary to create the brilliant passage of white-washed wall in The Art of Painting. The rough texture of the paint surface imitates the texture of the white-washed wall and its peaks catches rays of raking light, making it sparkle. On the other hand, the softness of the artist'sbusht hair was worked with a thin layer of muted ocher and smoothed imperceptibly with a badger brush.
Although the working-up method would seem an adversry of the extraordinary pictorial unity prevalent in Baroque painting, the difficulty in harmonizing each separate passage with the others was largely offset by the unifying effect of the monochrome underpainting.
Once relatively ready-to-use, mutually compatible industrial manufactured paints became available and neither detail nor naturalistic effects considered desirable, the multi-step working method vanished, and replaced by alla prima painting.
Recent study of Vermeer's canvases indicates that the artist most likely adopted the standard working-up method. Many passages of his mature works are completed with only one or two layers of paint. There is reason to believe that considerable time occurred between sittings. Rather than a being a slow painter, Vermeer was meditative painter who pondered every passage of his current work with the utmost concentration.
One would expect that a painting constructed in such a piecemeal manner would resemble a patchwork whose parts are clearly distinct one from the other. How then was Vermeer able to achieve such an unprecedented pictorial unity for which his art is known? One reason is that Vermeer used few pigments, perhaps no more than 20 in all, while only a dozen or so were used with any regularity. The Woman in Blue Reading a Letter was most likely painted with white lead, ultramarine blue, one or two earth colors (raw umber and/or yellow ocher), black and a red limited to the backing upholstery of the right hand chair. Some traces of red may also have been found in the face which most likely have faded with time. A reduced number of colors facilitates harmony..
The pictorial unity of Vermeer's compositions was also sustained by the monochrome underpainting the elementary relationship between darks and lights were fixed before addressing color. Once the underpainting was dry, the artist superimposed layers of colored paint. The chiaroscural values of the underpainting helped the artist to match the darkness or lightnessu of the subsequent colored paint layers. While the lighter areas were generally rendered with full body color consisting in one or two pigments mixed in varying proportions, shadows were often painted in very thin semi-transparent layers of paint, leaving the warm ground to acting as a unifying agent. The warm brown underpainting in the robe of the Girl with a Red Hat can been seen through the irregular brushstrokes of the natural ultramarine paint which lies over it.
In any case, it is difficult to understand the sequence in which Vermeer worked up each passage. By analyzing the system of overlapping areas of pigment, Ernst van der Wetering has hypothesized that Rembrandt worked from "the back to the front." No such study has been preformed on Vermeer's painting. However, one might reason that the background walls, which play such an important role in the artist's pictorial conception, may have been among the first areas to be completed in the working-up phase. More than any other pictorial element, the walls determine the amount and quality of light that will be represented in a given scene. Analogously, landscape painters often depict the sky first in order to gauge the correct colors of actual landscape below. It is obviously that the sky influences the tone of the landscape and not vice versa. After the tones of wall had been established, Vermeer then worked-up the larger areas of color such as the various costumes worn by the models, which play a decisive role in the chromatic the painting's harmony.