I thought the perspective was a bit off, but it doesn't seem to be (please excuse my freehand "photoshop" etching). Interesting that the vanishing point is at her left tricep.
There is a very interesting book about van Gogh's portraits of Doctor Paul Gachet, Portrait of Dr. Gachet: The Story of a Van Gogh Masterpiece, Money, Politics, Collectors, Greed, and Loss, by Cynthia Saltzman. He did two such portraits. Gachet was a doctor who cared for van Gogh during the last few months of his life. The first version (swirling background) may still hold the record for most expensive painting ever sold at public auction, when its $82.5 million 1990 sales price is adjusted for inflation.
A drawing today: David Hockney - Woldgate 6 - 7 February, 2013 - one of series of stunning drawings he completed last year after a minor stroke. See here: http://fridaynightboys300.blogspot.co.uk/2014/04/david-hockney-yorkshire-spring-drawings.html
This book by David Hockney is a fascinating argument for the proposition that the Old Masters made liberal use of the camera obscura. http://www.amazon.com/Secret-Knowle...&qid=1398190111&sr=1-8&keywords=david+hockney
I came across a youtube video explaining an alternate and to my eyes, more plausible explanation of Vermeer's painting. Actually I shouldn't say more plausible because both are possible. However the person presenting makes a convincing case for using two mirrors instead of a camera obscura and he demonstrates how it would be done and how it would look. They have done their homework and the paintings presented demonstrate the theory. I would use it when I draw!
For the most plausible explanation out there, anyone at all interested in the subject should watch Tim's Vermeer. http://sonyclassics.com/timsvermeer/ - an utterly fascinating look at how Vermeer could have utilized a two mirror system in much more convincing way. Both Hockney and Steadman find merit in it. That being said, I'd be the first to argue that mechanical aid in no way diminishes the true genius of Vermeer. The ability to construct the scenes in such an intimate fashion are what really set them apart as masterpieces.
This is not new info there was already a dvd about Vermeer ,and Hockney was on 60mins of course there's never been another Vermeer, and guys doing copies of Vermeers are missing the point, try doing one without everything done already, years ago I did a copy of a Durer woodcut ,and I thought it came out all right at the time ,but it wasn't like I could come up with it from scratch, that's a another thing all together
Some of this was news to me. Sorry I am not as well informed as you. Can you post a picture of your copy of a Durer woodcut? I would be interested in seeing it.
One of Caravaggio's many paintings to include a self-portrait (he is the lantern-holder at far right). I just returned from a vacation to Rome/Sicily/Malta which included the viewing of the following Caravaggios: Beheading of St. John the Baptist (St. John's Co-Cathedral, Valletta, Malta) St. Jerome Writing (St. John's Co-Cathedral) Burial of St. Lucy (Santa Lucia alla Badia, Siracusa, Sicily) Madonna of the Pilgrims (Sant'Agostino, Rome) St. Matthew trilogy (San Luigi dei Francesi, Rome) John the Baptist (Galleria Doria Pamphilj, Rome) Rest on the Flight to Egypt (Galleria Doria Pamphilj) Penitent Magdalene (Galleria Doria Pamphilj) Unfortunately the Museo Regionale in Messina was closed for repairs, so I missed Adoration of the Shepherds, which I'd previously seen at the Rome Quirinale show in 2010, and The Raising of Lazarus. While the Beheading is truly remarkable, I give the nod to the St. Matthew Calling and Martyrdom as favorites. Caravaggio uses the chapel space to full effect: in the Calling, a shaft of light comes in from the right, which is the location of the chapel window. In the Martyrdom, a broader light comes in from the left, again from the direction of the window. And in the center Inspiration, the angel appears from above, just below the window; meanwhile the bench upon which the startled Matthew sits falls forward towards the viewer. The Calling of St. Matthew: The Martyrdom of St. Matthew (another self-portrait appears in the small mournful figure just above the sword's handle):
well that was years ago, not sure where it is at the moment ,its was just to that point out that making copies is not the same and making a new picture ,and Vermeer was a whole lot more than the camera obscura,
I agree but it is interesting to know the techniques he may have employed and whether such techniques included optical devices.
you might want to check out that first dvd with Meryl Streep ,they cover a lot and have most of the Painting ,because it was done when most of his painting were at the Washington Gallery for that big show, I got it from Netflix
I don't have a favorite of all time, been looking at Lawrence Alma-Tadema a lot today, love him. 1904 Lawrence Alma-Tadema - The Finding of Moses Much bigger higher resolution of it here: http://commons.wikimedia.org/wiki/File:1904_Lawrence_Alma-Tadema_-_The_Finding_of_Moses.jpg
I've only seen three Caravaggio's. Besides 'The Betrayal Of Christ' I've seen... 'The Musicians' (1595) Supposedly the second boy from the right is a self portrait. and 'The Denial of Saint Peter' (1610) Both are in The Metropolitan Museum of Art in New York There are very few Caravaggio's in the US. If you're a fan of Caravaggio. I highly recommend 'Caravaggio: A Life Sacred and Profane' by Andrew Graham-Dixon
Not a painting, I know, but... Henri Matisse - Small Dancer on a Red Background Here's the British poet Craig Raine writing on the Matisse cut out exhibition at Tate Modern: http://fridaynightboys300.blogspot.co.uk/2014/05/craig-raine-on-matisse-at-tate-modern.html
This is in our local museum and I've always liked it. "Why War?" by Charles Spencelayh. The blurb says:- Having fought in ‘the war to end all wars’, this First World War veteran sadly contemplates the onset of the Second World War. Near him lies a new gas mask from Lewisham Council and a newspaper covering Chamberlain's abortive mission to make peace with Hitler.
