Johannes Vermeer (1632-1675), a Dutch painter of everyday life in 17th century Holland, constructed works of art completely different from other painters of his day. The hypothesis that Vermeer used the forerunner of the modern photographic 'camera, the camera obscura as an aid in making his paintings has been repeatedly submitted since the revaluation of his art in the late 19th century. Although historical sources indicate contemporary interest in the camera obscura, they do not specifically document Vermeer's use of this device. The main purpose of this study is to examine whether this hypothesis can be substantiated. Because a camera obscura leaves few physical traces on the painting, one must rely on an interpretation of the image to determine whether it exhibits characteristics derived from the use of a camera obscura. Upon close examination, a number of optical effects visible in the camera obscura are found in at least some of his paintings. They are the accentuated perspective, hightened colors, contrasts of light and dark, halation of highlights, and vignetting effects.
The secret of Vermeer's art is, however, not that he used the camera obscura but that he used it so well as a point of departure for art. Therefore, the study of Vermeer should not be finished by substantiating the hypothesis. It should direct toward the study on photographic expression as an art form. What can be learned from optical effects and photographic expression in Vermeer's paintings? This problem directly leads to a survey into the origin of photographic eye and expression, which is also another purpose of this study.
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