Fading into the background: the dark space surrounding Vermeer’s Girl with a Pearl Earring

The background of Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) has, until recently, been interpreted as a flat dark space. The painting was examined in 2018 as part of the research project The Girl in the Spotlight using a combination of micro- and macro-scale analytical techniques. Th...

Celý popis

Uložené v:
Podrobná bibliografia
Vydané v:Heritage science Ročník 7; číslo 1; s. 1 - 19
Hlavní autori: Vandivere, Abbie, van Loon, Annelies, Callewaert, Tom, Haswell, Ralph, Proaño Gaibor, Art Ness, van Keulen, Henk, Leonhardt, Emilien, Dik, Joris
Médium: Journal Article
Jazyk:English
Vydavateľské údaje: Cham Springer International Publishing 16.09.2019
Springer Nature B.V
SpringerOpen
Predmet:
17th century
Background
Charcoal
Chemistry and Materials Science
Chromatography
Flat surfaces
Girls
Glaze
Imaging techniques
Indigo
Infrared imaging
Materials Science
Microscopy
Optical Coherence Tomography
Research Article
Stratigraphy
The Girl in the Spotlight: A technical re-examination of Vermeer’s Girl with a Pearl Earring
Visual effects
Weld
X-ray fluorescence
Macroscopic X-ray fluorescence imaging
Background
Optical coherence tomography
Focused ion beam-scanning transmission electron microscopy
Liquid chromatography
Glaze
Indigo
17th century
Weld
ISSN:2050-7445, 2050-7445
On-line prístup:Získať plný text
Tagy: Pridať tag
Žiadne tagy, Buďte prvý, kto otaguje tento záznam!
Popis
Shrnutí:The background of Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) has, until recently, been interpreted as a flat dark space. The painting was examined in 2018 as part of the research project The Girl in the Spotlight using a combination of micro- and macro-scale analytical techniques. The stratigraphy of the background was determined from samples mounted as cross-sections, and its material composition was analysed using electron microscopy and chromatographic techniques. The underlayer contains mainly charcoal black, and the glaze contains two organic colourants—indigo and weld—and a copper drier. Deterioration of the glaze has made features in the background difficult to discern with the naked eye. Complementary imaging techniques were able to visualise Vermeer’s signature, and the suggestion of folded fabric (possibly a curtain) on the right side of the painting. The distribution of the layer(s) in the background were imaged using: infrared reflectography (900–1100 nm), multi-scale optical coherence tomography scanning, macroscopic X-ray fluorescence and 3D digital microscopy. Vermeer applied the black underlayer vigorously with overlapping brushstrokes that varied in thickness. When he applied the glaze on top, it levelled out to make a smooth flat surface. The visual effect of the background contrasts the figure of the Girl and projects her forward in space, closer to the viewer.
Bibliografia:ObjectType-Article-1
SourceType-Scholarly Journals-1
ObjectType-Feature-2
content type line 14
ISSN:2050-7445
2050-7445
DOI:10.1186/s40494-019-0311-9