Adrian mathesis

J Meer [fragmentary] Albert Blankert, Vermeer: The Complete Works, New York, c. The Complete Paintings, New York, c.

Adrian mathesis

J Meer [fragmentary] Albert Blankert, Vermeer: The Complete Works, New York, c. The Complete Paintings, New York, c. The variation in the number of threads is caused by the slight difference of the threads' denier between 0,2 and 1 mm. An x-ray photograph shows considerable fabric strain up to 1 cm.

The strain had been fixed by the grounding of the support. This unusually strong straining may indicaye that the support was not prepared by a professional "witters. The painting's 83 x The white ground is a mixture of lead white and chalk "lootwit"bound only with protein and applied in a relatively thick layer of 0.

Only few traces of under drawing and underpainting mainly in a light reddish-brown or light grey are possible to detect, implying in their execution the ground layer's grade of lightness.

The most distinctive area of underpainting is visible in the upper part of the window's inner embrasure, left-side from the red curtain.

The underpainting of the carpet initially excluded the bowl with fruit. The row of the pattern in that area didn't leave out the objects' outlines.

The perspectival construction was probably drawn from direct observation without any mechanical aid.

This likely explains why the vanishing lines of the window frame do not meet exactly in the vanishing point beyond the girl's head in the right half of the picture.

Apart from the lead white, for the shadowed parts mixed with umber and traces of charcoal, Vermeer employed lead-tin yellow for the girl's bodice and sleeves as well as for a great part of the highlights including those for the brass nails at the back of the chair.

The red paints for the curtain and the tablecloth are vermilion and madder lake, mixed with lead white in the light passages. The green of the trompe l'oeil curtain is created by a mixture of azurite and lead-tin yellow. Ultramarine appears in admixtures with lead white for the first time in the window frame and in the tablecloth.

A curiosity has been detected during the recent analysis, in the girl's hairdo, created with fine dots of light and dark brown, various tones of ochre and some reddish nuances Vermeer set two light blue dabs in the sort of hair-band running vertical around the coiffure, perhaps an early allusion to his later so preferred contrast of yellow and blue.

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Rather than sharp edges Vermeer extends his technique of blurring the contours with dabs and dots to enhance the effects of depth and surface texture. These dots again serve as a special reflective background for the highlights glazed in light colors where the natural light encounters the objects' textures.Port Manteaux churns out silly new words when you feed it an idea or two.

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Adrian mathesis
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