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Notebook

Notebook, 1993-

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"T e x t . . . . . ." - [Name]




The work of
Jan Vermeer - "It must be remembered that paintings of the 17th c. were generally far more complex in composition and great attention was given to perspective accuracy, naturalistic illumination and fine detail. Once the drawing and lighting scheme had been worked out in the drawing and underpainting stage, artists worked up their compositions in a piecemeal fashion, completing one restricted area at a time. Almost allrepresentations of artists at work showed them at work seated holding small palettes. The pigments they possessed were very few compared to those available to any modern painter and usually had to be hand ground each day before setting out to work. Moreover, some pigments were not mutually compatible and had to be used separately. To overcome the scarcity of pigments and the inherent limitations of available materials, artists had learned to compensate through the use of complex pictorial techniques such as monochrome underpainting, glazing and by varying paint consistencies and methods of application." - Jonathan Janson: "A number of sources were used as reference for this study including antique painters' manuals, modern studies of painting technique, the writings of P. T. A. Swillens, Koos Levy-van Halm, Nicola Costara, E. Melanie Gifford, Arthur K. Wheelock Jr. and especially Ernst van de Wetering and Jorgen Wadum who was kind enough to have answered some of my questions regarding the technique used in the Girl with a Pearl Earring. Thanks to Richard Hyman, a contemporary painter, who offered many suggestions regarding Vermeer's painting technique and modern painting technique and materials as well."




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Van Gogh . . . . . Georges Vantongerloo, . . . . . Giorgio Vasari . . . . . Willem van de Velde . . . . . Venturi . . . . . Venus [Aphrodite] . . . . . Jan Vermeer . . . . . Veronese . . . . . Villanovan . . . . . Bill Viola . . . . . Voltaire . . . . . Vulcan [Hephaestos]









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