Vermeer's Camera: Uncovering the Truth Behind the Masterpieces

Steadman, Philip

ISBN 10: 0192159674 / ISBN 13: 9780192159670

Editore: Oxford University Press, 2001

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All pages and cover are intact. Dust jacket included if applicable, though it may be missing on hardcover editions. Spine and cover may show minor signs of wear including scuff marks, curls or bends to corners as well as cosmetic blemishes including stickers. Pages may contain limited notes or highlighting. "From the library of" labels may be present. Shrink wrap, dust covers, or boxed set packaging may be missing. Bundled media e.g., CDs, DVDs, access codes may not be included.

Codice articolo COLV.0192159674.G

Dati bibliografici

• Titolo: Vermeer's Camera: Uncovering the Truth Behind the Masterpieces
• Editore: Oxford University Press
• Data di pubblicazione: 2001
• Lingua: Inglese
• ISBN 10: 0192159674
• ISBN 13: 9780192159670
• Rilegatura: Rilegato
• Condizione: good

Descrizione articolo

Riassunto

Art historians have long speculated on how Vermeer achieved the uncanny mixture of detached precision, compositional repose, and perspective accuracy that have drawn many to describe his work as "photographic." Indeed, many wonder if Vermeer employed a camera obscura, a primitive form of camera, to enhance his realistic effects?
In Vermeer's Camera, Philip Steadman traces the development of the camera obscura--first described by Leonaro da Vinci--weighs the arguments that scholars have made for and against Vermeer's use of the camera, and offers a fascinating examination of the paintings themselves and what they alone can tell us of Vermeer's technique. Vermeer left no record of his method and indeed we know almost nothing of the man nor of how he worked. But by a close and illuminating study of the paintings Steadman concludes that Vermeer did use the camera obscura and shows how the inherent defects in this primitive device enabled Vermeer to achieve some remarkable effects--the slight blurring of image, the absence of sharp lines, the peculiar illusion not of closeness but of distance in the domestic scenes. Steadman argues that the use of the camera also explains some previously unexplainable qualities of Vermeer's art, such as the absence of conventional drawing, the pattern of underpainting in areas of pure tone, the pervasive feeling of reticence that suffuses his canvases, and the almost magical sense that Vermeer is painting not objects but light itself.
Drawing on a wealth of Vermeer research and displaying an extraordinary sensitivity to the subtleties of the work itself, Philip Steadman offers in Vermeer's Camera a fresh perspective on some of the most enchanting paintings ever created.

Informazioni sugli autori

Philip Steadman is Professor of Urban and Built Form Studies, University College London.


Philip Steadman is Professor of Urban and Built Form Studies at University College London.