« One day we will realise that Raphael and Vermeer had already discovered everything about painting. »Salvador Dali 1945
Website dedicated to the copying of Vermeer’s paintings
Size of the paintings :
The copies are the same size as the originals so as to keep the spirit and intimate feeling wished for by the Artist. The height and width were likely predefined by the camera obscura where Vermeer would be inspired by light effects seen through the projected picture on the polished glass. The paintings proportions are mainly identical to each other (cf Alain Decaux, Vermeer). The canvas is set on stretchers made to measure by a professionnal cabinetmaker
Pigments and colour preparation :
Colours are prepared by myself. I crush them twice with a pestle and mortar, making several movements in the shape of an 8. The colours are then put in little tubes. I sometimes just crush the colours I need for the day. Binding mediums used: cooked linen oil litharge cooked walnut oil, turpentine, raw linen oil, “essence of aspic”, ...if you want to know more about ultramarine pigment: please refer to “Outremer: broyage et formation”by Thierry Moutard-Martin
Vermeer used different pigments at different periods in his career. I try to find similar tones from pigments that are available today such as white lead, indian yellow, vermilion, madder lacquer, verdigris, yellow ochre, red ochre, lemon yellow, indigo, cinnabar red, ultramarine(synthetic), true lapis lazuli( true ultramarine) from Chile or Afghanistan.
Preparation of the canvas :
Please refer to « La technique de la peinture à l’huile » by Xavier de Langlais for animal glue preparation, published by Flammarion Editions.
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