Next, let's look at Jan
Vermeer. It should be said that his are
among the most coveted paintings in the world because they are so rare. His style, too, however, is one of impeccable
exactness. I heard someone at an art
museum lecturing a while back, and he was arguing to his class about the
quality of touch in painting. All other
techniques, he said, can be copied and mimicked. Colors can be reproduced, tone reused, shapes
obviously can be refashioned on a flat canvas, the dimensions of a painting can
be duplicated to an exact facsimile—the images are there to be painted again;
however, he said, the one thing that cannot be replicated is the sense of
personal touch in the artwork. You may have
Vermeer's colors and tools, but you do not have the exact lightness of fingers
that he did in dabbing finite brushstrokes to his paintings with the delicacy
of hair-splitting precision and, more importantly, you do not have the precise
velocity of his brushstrokes to produce the tone of harshness conflicting with
softness that is present in some of his most famous works. This is the irreplaceability of Vermeer's
work.
Vermeer often liked to paint
pictures of everyday life, akin to the now established Protestant tradition of
genre painting. He painted portraits in
which the interiors seemed to have greater importance over the figures, and he
is known today for his lush interiors more so than for his actual portraits
(with the exception of the above, the celebrated Girl with a Pearl
Earring). Most of his paintings are of
the same room, actually, which presents an interesting microcosm to the
viewer. "All the world's a
stage" was penned by Shakespeare some sixty years earlier. "And all the men and women merely
players:" the people in Vermeer's works are often presented as less
important than the light and textures of the stage picture he displays. In order to see the consistency of his
approach to his subject matter, it is beneficial to look at several of his
works. In the spirit of true,
hardworking diligence, we'll just look at a few.
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