Sketching Vermeer

I want to show you the kind of sketches we create when putting together a portrait painting.

In this case the painting is Vermeer's "Girl with a Pearl Earring, 1665".

Vermeer: Girl with a Pearl Earring, 1665 - an initial sketch

Vermeer: Girl with a Pearl Earring, 1665 - an initial sketch
Mapping the negative space.

Notice how unlike drawings they are!

A sketch is a problem solving exercise.

Vermeer: Girl with a Pearl Earring, 1665
Sketch painting.

We start with a few quick sketches to enable us to see the structure of the face.

Vermeer: Girl with a Pearl Earring, 1665
Negative space helps us place the portrait on the canvas.

Vermeer: Girl with a Pearl Earring, 1665
Learning how to rotate a cube in space helps us find the postion of the eyes, nose and mouth.

Vermeer: Girl with a Pearl Earring, 1665
Perspective: finding the vanishing point.

Vermeer: Girl with a Pearl Earring, 1665
Looking for the many nested curves.

These processes are antithetical to the absolute nonsense promulgated about Vermeer by David Hockney and Tim Jenison of 'Tim's Vermeer' infamy.

Hockney and Jenison propose that Vermeer and other Baroque masters relied heavily on optical devices to create their stunningly realistic paintings.

Look what one of my students produced in just 4 hours, using her ability to listen, think and paint.

Vermeer: Girl with a Pearl Earring, 1665 - a student painting at Inglis Academy   Vermeer: Girl with a Pearl Earring, 1665 - a student painting at Inglis Academy
Read more: Loretta's Vermeer

Paint Vermeer: 'Girl with the Pearl Earring'.