ohannes Vermeer: The Milkmaid (c. 1658); Rijksmuseum, Amsterdam


PHOTOGRAPHIC VERMEER
Johannes Vermeer’s Milkmaid (c. 1658) is perfect in its self-evident naturalness. The spectator will have no doubts as to what he sees: an ordinary, somewhat sturdy kitchen maid who pours milk from a jug into a bowl with quiet concentration. Yet we can be sure that Vermeer would have needed all his skills, knowledge and genius to create such an uncomplicated-looking picture.
Let us take a look, for instance, at his masterly depiction of the milk, which really seems to flow from the jug. Many artists have tried to defy the evident limitation of painting that it can show no movement, but few were as convincing as Vermeer.
Furthermore, the artist paid great attention to details. Vermeer gives thought to a nail set high in the white wall, as well as the tiny rough patches in the texture of the white plasterwork. Also note how the strong outdoor light enters through a crack in the windowpane. This interest in detail may explain why - despite the fact that art was his only source of income - Vermeer finished a mere 45 works during his life.
It is generally assumed - but not undisputed - that Vermeer made use of technical aids to study and create certain optical effects. Research has revealed a tiny hole in the vanishing point of thirteen of Vermeer's interior paintings, including this one. By inserting a pin with a string attached to it, he could reach any area of his canvas to correct perspective lines.
Also typical for Vermeer’s work are his carefully arranged compositions, which have a photograph-like quality. It is believed that Vermeer used a camera obscura, an optical device that projects an image of its surroundings onto a flat surface. This would have facilitated playing around with possible framings until he found one that pleased him.
If it is true that Vermeer worked with such tools, this would also provide a clue to his miraculous mastery of light reflections (such as the light spot on the maid’s forehead), as well as to the wonderful illusion of depth and immediacy in his paintings.
(text: Maarten Levendig)

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