Peggy Baumgaertner wrote: Peggy, is that to be interpreted as all in one session? Or would there be some drying time in between?

More has been written about his methods than is known. But I disagree in that I feel he used an underpainting rather than a direct method.

In any event, it is the principles of painting that count, not the methods.

Vermeer's work can be copied and his lessons can be learned no matter which painting method is used.

Tom,

I do not mean alla prima, all at once. I mean directly, with several drying layers between applications. (I myself paint directly with at least four layers of paint applied to each painting. I do no tonal underpainting. I like the richness and patina of the layering of paint, but love the passion and spontaneity of painting directly.)

Peggy

Hi Peggy,

In Harold Speed's "Oil Painting Techniques and Materials", http://www.portraitartist.com/bookstore/oil.htm on page 117 there is a reference to Vermeer.

Speed writes, "A movement of colour in the tones, such as the impressionists developed to such an extent, is necessary in all vital colouring; and has always existed even from the days of the tempera painters. They painted one colour thinly over another repeatedly, thereby getting a play of two colours. Their flesh was usually painted in terra verte in the first instance, the pinks and ochres being thinly painted upon it afterwoads. There is evidence that Vermeer of Delft used this method. In "The Lady at the Virginal" already referred to, the terra verte underpainting shows through in the head of the girl very strongly. The flesh tones that had been thinly painted over this, have been rubbed off, I imagine, in the process of cleaning the picture at some time."

If you know of another good source on Vermeer would you please share it with me?

Broken color
 

As with underpainting, I think much too much is often attributed to those "small little pieces of red and green next to each other". I've heard this said of Rembrandt, Fechin, Bouguereau, Vermeer, Sargent and about anyone else written about at length by non-painters. I don't see much of it. If it's there and it's not visible (to the naked eye) does it count? Furthermore with the green underpainting (the effect so often referred to) only works if done with careful transparent glazing. Truly opaque colors put on top will be just that, opaque. The truth that few ever talk about is that underpainting was often just slow careful drawing and design put on lean (with turps and no oil-thinnly) and colorless with full expectation of being obliterated with later color.

Peggy, thanks for this: I always wondered where my painting technique evolved from. Plus the over layer addition of just paint with a little medium and oil-rich, pigment-poor glazes.

Tim, thanks for this: I am looking at some Titian layers and the above makes sense of what I am watching.

There is a site up for the book - Vermeer's Camera
by Steadman, I believe. Makes for interesting reading.

Administrator's note: Find "Vermeer's Camera" as well as other books on Vermeer at the bookstore at: http://www.portraitartist.com/bookstore/vermeer.htm