Scientific Verification of Vermeer's Use of Camera Obscura

维米尔使用暗箱的科学验证

• 批准号: 08610056
• 负责人: NAKAMURA Koichi
• 金额: $ 0.77万
• 依托单位: Tokyo Institute of Polytechnics
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (C)
• 财政年份: 1996
• 资助国家: 日本
• 起止时间: 1996 至 1997
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-08610056/
• 关键词: Johannes Vermeer; Dutch Painting; Painter of Everyday Life; Camera Obscura; Optical Effects; Vignetting Effects; Perspective; フェルメール; カメラ・オブスク-ラ; ヨルゲン・ワドゥム; 風俗絵画; 画像情報のデータベース; レンズを通した視覚; 写真前史

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 modem 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, heightened colors, contrasts of light and dark, halation of highlights, and vignetting effects.The first exhibition devoted exclusively to Vermeer was held in 1995-96 in the National Gallery of Art, Washington and the Royal Cabinet of Paintings Mauritshuis. Since then, an international team of scholars has presented new ideas about Vermeer's creative process and technical means. For example, an essay in the catalog for the exhibition by Jorgen Wadum, chief paintings conservator at the Mauritshuis, provides the artist's use of perspective in which he reveals new evidence of Vermeer's working methods. A critical analysis of Wadum's essay is included in the last chapter of this report.

约翰内斯·维米尔（Johannes Vermeer，1632-1675）是一位 17 世纪荷兰日常生活画家，他创作的艺术作品与同时代其他画家完全不同。自 19 世纪末对其艺术进行重新评估以来，人们不断提出这样的假设：维米尔使用现代摄影相机的先驱——暗箱作为其绘画的辅助工具。尽管历史资料表明当代人们对暗箱很感兴趣，但它们并没有具体记录维米尔对这种设备的使用。这项研究的主要目的是检验这一假设是否能够得到证实。由于暗箱在画作上留下的物理痕迹很少，因此必须依靠对图像的解释来确定它是否表现出来自相机使用的特征暗箱。仔细观察，至少在他的一些画作中发现了一些暗箱中可见的光学效果，它们是强调的透视、增强的色彩、明暗对比、高光光晕和渐晕效果。专门为维米尔举办的展览于 1995-96 年在华盛顿国家美术馆和莫瑞泰斯皇家美术馆举办。此后，国际学者团队对维米尔的创作过程和技术手段提出了新的想法。例如，莫瑞泰斯皇家美术馆首席绘画管理员乔根·瓦杜姆 (Jorgen Wadum) 的展览目录中的一篇文章提供了艺术家对透视法的运用，揭示了维米尔工作方法的新证据。本报告的最后一章包含对瓦杜姆文章的批判性分析。