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ESSENTIAL VERMEER 3.0
25 THINGS YOU (PROBABLY) DIDN'T KNOW ABOUT VERMEER
Essential Vermeer Glossary of Art-Related Terms
A - C
A - C D - I J - P Q - Z
This glossary contains a number of recurrent terms found on the present site which may not be clear to all readers, especially when employed within the context of an art historical discussion. Some terms, signaled by an icon of the Vermeer's monogram, are examined as they relate specifically to Vermeer's art. Each of the four sections of the glossary can be accessed from the menu top located on the top of the page.
The terms in this glossary are cross-linked or externally linked only the first time they appear in the same entry.
LOOKING OVER VERMEER'S SHOULDER
The complete book about 17th-century painting techniques and materials with particular focus on the painting of Johannes Vermeer.
by Jonathan Janson | 2020 | PDF | 3 volumes, 294 pages
Aanleggen
A Dutch term for the painting technique called "maniera lavata," that describes a method of dead-coloring (underpainting) in which each specific area of the painting is first approximated in a flat tint—a relatively light wash—before creating the final nuances of form, hue and light.
Abrasion
A loss of media or scratches, often resulting in a loss on the surface, extending to the paint and ground layers, caused by faulty cleaning, friction as well as where the frame touches the painted surface.
Abstract
The abstract qualities in art are those which are independent of a work's resemblance to external reality. The arrangement of lines, forms, tone and color, even in a painting depicting an aspect of the known world, can be viewed as a series of non-representational relationships. Such patterning has often been appreciated for its own sake; music without vocal narrative elements tends to be enjoyed in a similar manner.
From the late-nineteenth century onwards, visual abstract or formal qualities were increasingly emphasized, analyzed and finally isolated by painters.
Visual abstraction is not merely an aesthetic quest; it is a biological necessity. By reducing visual complexity abstraction increases perceptual efficiency allowing us to recognize objects, evaluate movement and orient ourselves in space with great rapidity. Without abstraction the brain would be enslaved to the particular because it would have to recall every detail in order to make sense of the contents of the visible world. In daily life most visual information is redundant. In the case of photographic images, it has been calculated that this redundancy may be as high as 90%. The ability of the human mind to abstract may also be linked to the limitations of its memory system.
Throughout the twentieth entury, the term "abstraction" was regularly summoned to describe certain aspects of Vermeer's style. However, abstraction, which we inevitably associate with twentieth-century abstract painting, has no exact correspondence in seventeenth-century art discussion. The closest concept is that of idealization, by which classically oriented painters sought to divest the world of imperfections and transmit fundamental religious and ethical truths that were considered the only worthy objectives of the art of painting. The fundamental difference between the two concepts is that abstraction seeks to extract an underlying "truth" of reality on a general level, such that it can be true of many cases, while idealization involves a premise, which can skew reality to a predetermined result making it potentially misleading.
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