17th and 18th Centuries - Vermeer

Vermeer

" It is too easy to enter into one of Vermeer's Pictures. It offers no barrier. It is completely unnecessary to be familiar with its iconography " Philippe Daudy, The XVII Century II (1968)

The Lacemaker

" The source of light is more diffused. The brighter light shines from the right of the picture, but the left is not in shadow " Philippe Daudy, The XVII Century II (1968)

The woman appears to be relaxed but it is clear that she is concentrating on her lacework. The work can be dated as one of Vermeer's later paintings by the style of the hair as this style became popular after the invasion of Louis XIV's troops in 1672.

The lighting in this painting is unusual because typically the light source is placed on the left this is because we are taught to read from right to left so that is the direction our eyes want to follow when 'reading' (viewing) paintings or photographs.

In this painting however the light source is coming from the right side and is not casting harsh shadows, the light does however reach the cushion on the far left of the image so that the whole image is lit but with emphasis on the light coming from the right.

Many people think a camera obscura has been used to create this canvas as the coloured threads in the foreground are slightly blurred and out of focus whereas the thread the woman is using appears sharp.

"By foreshortening and blurring the foreground objects, he gave this jewel-like canvas a striking sense of intimacy " Hans Kiningberger, The World of Vermeer (1967)

 The lighting in the painting shown above is similar to the lighting in this painting.

Vermeer
 Interior with a Woman Playing the Guitar

The young girl is also being lit from the right although a hint of what I think is a curtain appears in the edge of the framing making the light source a window. The shadows appear harsher than the previous image, this is shown in the folds of the dress and the woman's face.

" The folds of her dress are hard and boldly rendered instead of being crisp as in in Lady Standing at the Virginals " Christopher Wright, Vermeer (2005)

Her face is tilted away from the light source, I believe this has been done in order to greater show the detailing in the shadow on her face, if she was looking at Vermeer straight on then her whole face would be in the shadows.


Digital Studio

The Chiaroscuro style of lighting the subjects is still being used in modern studios today. The style of this work often creates dramatic high contrast works, because only one light is typically used with a reflector on the other side. More information here.

This image shows a young boy lit in this way by using one light on the right of the model then using a reflector to light the left side of his face.

The Vermeer Boy
by John Mee