Vermeer

Jan Vermeer's career as an artistic writing task of the 17th century has revolutionized art, technology and social customs of the 1st century. In art, the theme is no longer the most important part of wonderful paintings. This allows artists to discover how to evaluate and portray the world's pure beauty. The biggest of these masters is Yan Vermeer, a generation born after Rembrandt. Vermeer did not paint a lot of pictures in his life, and a few people represented important scenes.

Vermeer is known as "Master of Light". In The Milkmaid, Vermeer uses colors to express light and details. Vermele paints color with small white paint beads. This will be displayed at the end of the bowl. A small point of white paint reflects the light from the window. In this picture, light is touching the object in a real way. Objects beneath the light are bright and bright, and objects that are not directly under the light are dark. The pan and the center of the table seems to be receiving direct sunlight. When the face of the woman turned, only a part of her face hit the light, but the rest were subtlely blocked. Also, the corner of the table is very shallow and one side of the table is dark because the sun is not visible. Vermeer used vivid colors and bright colors for his paintings. He is full of radiance in the depiction of light. He painted paint and thorns, so that the raised texture of the paint reflected more light, gave the vitality of the paint and the texture of three dimensions.

Tim's Vermeer in 2013 is a story of software engineer Tim Jenison, who is convinced that Johannes Vermeer has drawn the famous work The Music Lesson with the help of optical devices. Dennison made a replica of Vermeer studio, scraped his lens into layers, mixed paint and copied photos. In the movie he told painter David Hockney. "This is a contemporary concept, art and technology never encounter, you know, you go to school to learn technology, and ... and in the Golden Age they are the same person. "

Any reader familiar with modern Vermeer literature must have noticed the rich image of Vermeer's paintings. This topic was mentioned at the beginning by P.T.A. Swillens (1950) and Lawrence Gowing (1952) focused on Delft Masters in their respective monographs. Since the early 1960 's, Vermeer' s paintings have been thought of as implicit, allegorical or symbolic. "Especially Eddy de Jongh does not do this first, but I believe that many Dutch paintings, including Vermeer, should be interpreted according to the printmaking of contemporary emblem books. Poetry, morality of ethics or proverbs. "45