Um poema ecfrástico - análise de "Três mulheres e um céu de Delft", de Daniel Jonas

Neste trabalho intenta-se fazer uma leitura do poema "Três mulheres e um céu de Delft', que integra o livro Os fantasmas inquilinos, publicado por Daniel Jonas, poeta português, em 2005. Para tanto, utiliza-se como principal operador conceitual a écfrase, que na Modernidade é vista menos na sua dimensão de recurso retórico do que como princípio poético destinado a estabelecer produtivas e complexas articulações entre as artes literárias e as artes plásticas.Três longas passagens do poema são especialmente recortadas para que se analise, nelas, a presença da obra de três expressivos ícones da história da pintura no Ocidente: o renascentista Nicholas Possin, o romântico Dante Gabriel Rossetii e o holandês Johannes Vermeer.

The Flat Earth Society

Chapter 25 explains the construction and use of the astrolabe with reference to Geoffrey Chaucer’s A Treatise on the Astrolabe. The astrolabe is a rotating map of the heavens constructed using a stereographic projection of the celestial sphere. The projection techniques required to create this map is reminiscent of the projections used by artists to show perspective, and it is closely related to the techniques of cartographers. The most familiar world maps are produced using the Mercator projection devised by Gerardus Mercator in the sixteenth century. Johannes Vermeer included maps in many of his paintings, most notably The Geographer and The Astronomer, and the figure in these painting might be the great microscopist Antonie van Leeuwenhoek. The architect Philip Steadman made an in-depth study of whether Vermeer employed a camera obscura when painting.

Macroscopic x-ray powder diffraction imaging reveals Vermeer’s discriminating use of lead white pigments in Girl with a Pearl Earring

Until the 19th century, lead white was the most important white pigment used in oil paintings. Lead white is typically composed of two crystalline lead carbonates: hydrocerussite [2PbCO3·Pb(OH)2] and cerussite (PbCO3). Depending on the ratio between hydrocerussite and cerussite, lead white can be classified into different subtypes, each with different optical properties. Current methods to investigate and differentiate between lead white subtypes involve invasive sampling on a microscopic scale, introducing problems of paint damage and representativeness. In this study, a 17th century painting Girl with a Pearl Earring (by Johannes Vermeer, c. 1665, collection of the Mauritshuis, NL) was analyzed with a recently developed mobile and noninvasive macroscopic x-ray powder diffraction (MA-XRPD) scanner within the project Girl in the Spotlight. Four different subtypes of lead white were identified using XRPD imaging at the macroscopic and microscopic scale, implying that Vermeer was highly discriminatory in his use of lead white.

Complementary Quantitative Approach to Unsolved Issues in Art History: Similarity of Visual Features in the Paintings of Vermeer and His Probable Mentors

Who is the most probable mentor to Johannes Vermeer? To provide complementary evidence for this question, the authors quantitatively analyzed and compared the visual features of the works of Vermeer with those of artists proposed as his possible mentors. The results showed that Vermeer and Gerard ter Borch have similar artistic styles in many respects.

‘… With a Book in Your Hands’: A Reflection on Imaging, Reading, Space, and Female Agency

The Dutch artist, Johannes Vermeer (1632–1675), created a series of singular paintings that might be identified as feminine soliloquies of solitude, silence, and space. Like seeing, reading is a mediated practice that occurs within the cultural matrix that promotes the appropriate social mores of how to read, what to read, and who is able to read. Over the millennia of Western cultural history, books have been ambiguous symbols of power that have signified authorship, divine inspiration, wisdom, social position, and literacy. This led to the initiation of a singular Christian form of literature—the advice manual—specifically prepared for Christian women by Jerome (347–420), perhaps best known as one of the church fathers, translator of the Vulgate, and penitential saint. Simultaneously, an iconography of women reading evolved from these theological advisories, and paralleled the history of women’s literacy, particularly within Western Christian culture. The dramatic division that has always existed between male readers and female readers was highlighted during the Reformation when Protestant artists recorded the historical reality that readers were predominantly men of all ages but only old women, that is, those women who were relieved form the duties of childbearing and housekeeping, and who, as a form of spiritual preparation for death, meditated upon the scriptures. The magisterial art historian Leo Steinberg documented the tradition of what he termed “engaged” readers in Western art. Engaged male readers dominated numerically over female readers as reading, Steinberg determined, was not a primary, or perhaps better said appropriate, activity for women. Yet Vermeer’s portrayal of a young woman absorbed in textual engagement with a letter was an exquisitely nuanced visual immediacy of intimacy merging with reality that was highlighted by a refined light that illumined the soft, diffuse ambiance of this woman’s world. How Vermeer was able to focus the viewer’s attention on his female subject and her innermost thoughts as she is “lost in space” reading provides a starting point of this discussion of the images, reading, space, and female agency in Christian and in secular art.

Apropriando-se de Johannes Vermeer: revisitando o século XVII

Resumo Este artigo pretende discutir alguns procedimentosenvolvidos no conceito de apropriação, relacionando-ocom os vários diálogos que emergiram na cultura visualatual ao redor do pintor holandês Johannes Vermeer. Aideia de apropriação parte do princípio de que a culturae, especificamente, as imagens produzidas ao longo dos séculos nas artes plásticas nos pertencem e constroemconstantemente nossa imaginação. Ao invés de negar opassado para afirmar uma suposta originalidade, o artista contemporâneo não receia em recriar a partir de obras jáexistentes, criando assim um diálogo entre o passado e opresente. Iremos refletir qual o significado atribuído a este artista atualmente. Abstract This article intends to discuss some procedures involvedin the concept of appropriation, relating it to the variousdialogues that emerged in the current visual culturearound the Dutch painter Johannes Vermeer. The idea ofappropriation assumes that the culture and specifically the images produced over the centuries in the visual artsbelong to us and constantly build our imagination. Ratherthan denying the past to assert an alleged originality, thecontemporary artist is not afraid to recreate from existing works, creating a dialogue between the past and thepresent. We will reflect on the significance attributed tothis artist today. Resumen Este artículo pretende discutir algunos procedimientosimplicados en el concepto de apropiación, relacionándoloa los diversos diálogos que surgieron en la cultura visualactual en torno al pintor holandés Johannes Vermeer. Laidea de apropiación supone que la cultura (específicamente, las imágenes producidas a lo largo de los siglos en las artesplásticas), nos pertenece y constantemente construye con nuestra imaginación. En lugar de negar el pasadopara reivindicar una presunta originalidad, el artistacontemporáneo no teme recrear partiendo de obrasexistentes, estableciendo un diálogo entre el pasado y elpresente. Vamos a reflexionar sobre el significado atribuido a este artista en la actualidad.

Tonalism

Tonalism is an often under-appreciated aspect of Australian painting, which developed from the mid-1910s to the 1950s. A technique pioneered by Max Meldrum (1875–1955) it is different to the use of tone developed by artists such as Leonard da Vinci (1452–1519) and Johannes Vermeer (1632–75). Traditionally, European artists worked from dark to light, building up the painted surface to model form and create realistic effects as part of the will to produce illusionistic forms and space on a two-dimensional painted surface. This process is based on closely observed preliminary sketches. In Australia, the technique developed by Meldrum involved the blocking in of tonal impressions with no under-drawing or outlines.