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Vermeer's Camera: Uncovering the Truth Behind the Masterpieces
 
 

Vermeer's Camera: Uncovering the Truth Behind the Masterpieces (Hardcover)

by Philip Steadman (Author) "If a small hole is made in the wall of a darkened room, an image of the scene outside can be formed by light rays..." (more)
3.7 out of 5 stars See all reviews (3 customer reviews)

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Product Description

Amazon.co.uk Review
Philip Steadman's remarkable book, Vermeer's Camera, cracks an artistic enigma that has haunted art history for centuries. Over the years artists and art historians have marvelled at the extraordinary visual realism of the paintings of the 17th-century Dutch painter Johannes Vermeer. The painter's spectacular View of Delft, painted around 1661, and the beautiful domestic interior The Music Lesson seem almost photographic in their incredible detail and precise perspective. Since the 19th century, experts have speculated that Vermeer used a camera obscura, an early precursor of the modern camera. However, conclusive proof was never discovered, until now. In Vermeer's Camera, Philip Steadman conclusively proves that Vermeer did indeed use a camera obscura to complete his greatest canvases. Part art historical study, part scientific argument, but mainly a fascinating detective story, Vermeer's Camera argues that Vermeer had a camera obscura with a lens at the painting's viewpoint. He used this arrangement to project the scene onto the back wall of the room, which thus served as the camera's screen. He put paper on the wall and traced, perhaps even painted from the projected image. It is because Vermeer traced these images that they are the same size as the paintings themselves. Steadman painstakingly develops his argument through careful study of the history of the camera obscura, an exploration of 17th-century optics, and a detailed study of the light, optics, perspective and measurement of a series of Vermeer's paintings. He goes to remarkable lengths to reconstruct Vermeer's studio and its furnishings, down to the angle of the light from its windows.

The science is complex, but always clearly explained. Nor is this an attempt to reveal Vermeer as an artistic "cheat". Steadman convincingly argues that "Vermeer's obsessions with light, tonal values, shadow, and colour, for the treatment of which his work is so admired, are very closely bound up with his study of the special qualities of optical images". Vermeer's Camera is a wonderful book, that shows the ways in which, during the 17th century, art and science went hand in hand. It offers an enlarged, rather than reduced perspective on Vermeer. --Jerry Brotton

Review
"Vivid and impressive.... An experience that is closer to how we absorb the painter's intense, spooky, and perfectionistic work.... It's only in Steadman's presentation that I felt I came close to Vermeer himself."--Sanford Schwartz, The New York Review of Books


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If a small hole is made in the wall of a darkened room, an image of the scene outside can be formed by light rays passing through the hole. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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3.7 out of 5 stars (3 customer reviews)
 
 
 
 
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18 of 19 people found the following review helpful:
5.0 out of 5 stars A gripping book, 9 May 2002
By A Customer
This book is a must for anyone interested in art - or even who just wants a good read. It's rather like a detective story. What is the evidence that Vermeer used a camera obscura to help create his paintings? The colour plates are rather good, too. A bargain.
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10 of 13 people found the following review helpful:
5.0 out of 5 stars A Camera's Delight!, 2 Dec 2001
By A Customer
Steadman's really cracked it with this brilliant, informative book. It gives great inside information, and really was a splendid read. Fantastic!!
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1.0 out of 5 stars standing on Hockney's shoulders?, 27 Mar 2009
i'm annoyed to find that Mr Steadman apparently takes the credit for this discovery, when David Hockney - in his excellent book 'Secret Knowledge: rediscovering the lost techniques of the old masters' - got there first. Hockney's well-researched book includes additional experiments he himself made, and is illustrated with large colour reproductions of a great many paintings. Vermeer wasn't the only painter - nor indeed the first - to use optics in the composition of his work.
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