Copy a Vermeer

[Patt Legg]

Wow what a challange and I hope to be part of it.I was so excited that I printed off the two images and then went to each site suggested by you, Michele. I then proceeded to get really stuck and anxious about "how to paint a Vermeer" and read the entire 20 pages here. It was fantastic.

I had not thought of doing the earring one but had recently yearned to try the "Girl With a Red Hat". That one to me is just simply so striking and since I am in someway in my --not blue but "red" period, then I will have to do that one too.

I will do this but hope you all will be not forget me as I am terribly slow. Also, have to develop film before posting as I do not have a digital. Also, the images all are a little varied as to actual color so I will go to my large reference book of art and compare them all.

Good luck all and John as for your grisaille. I'm anxious to see the other ones you do.

[John Zeissig]

Hello all,

One thing I've learned from this exercise so far is that the next time I do this I'll make my painting the same size as the reference work, maybe by getting a poster of the painting. My painting here is scaled slightly larger than the reproduction on page 68 of my book, but slightly smaller than the version on the cover. When I put either version next to my painting to check one against the other, it's really difficult to tell whether I've got an eye, for example, too big or too small or in the correct relation to some other feature. It can be done, but it's a lot harder than it needs to be. Michelle already mentioned that this exercise works best if done in the original size of the painting. I just want to emphasize that I'm paying the price for ignoring her good advice.

Another thing I've noticed is that my reproductions both show what appears to be some damage in parts of the original painting. There's the obvious cracking in the face area, which I don't intend to reproduce, but which is enough to actually alter the values in this area. I'm thinking of the area above her right eye (our left) on the forehead.

Another area is in the shadow side of the blue turban, where the black looking portions seem to be really irregular, as though the blue paint had been somewhat abraded so the dark background might be showing through in places.

I've decided to paint things the way I think the pristine original might have looked, even though I'm not completely sure what that was. I lack the skill to reproduce that area in the turban in any event. All of this makes one realize that a career in art forgery is probably not the easiest way to make a buck!

Denise, It seems to me that my version has a slightly more "worried" look compared to the placid expression in the original. Also mine looks a little older than the girl in the original. Maybe both effects stem from the same source, but I'm not sure what it is. I'm going to work on the clothing now before I go back to the face. I'll post the finished grisaille when I'm done. I'm eager to see what others do with this exercise!

[Enzie Shahmiri]

Michele,

Thanks for taking the time to post this exercise. I am planning to work on mine as soon as I get some free time.

[John Zeissig]

Hello All,

Here's my finished (I think) value study of the "Girl With The Pearl(?) Earring". Painting this was quite an experience. I used to love the painting, but having my nose in it for twelve hours has given me doubts. I suppose that will eventually pass.

One question I have, Michelle, is; should we use the value study as an underpainting for the full color copy, or start all over again?

The scan is not the best, and I've cropped out a lot of the background, since it's not of much interest in this phase of things.

[John Zeissig]

A detail of the face.

[Michele Rushworth]

Since I don't make use of underpaintings I'll let someone who does do them answer that part of your post.

John, can you tell "the class" what you learned from this exercise?

[John Zeissig]

Michele,

I'm not ready to deliver one of my glorious essays on what I've learned from this. I've mentioned a few things, but I'm still digesting the results. Like why did I decide to stop and post this as finished? My answer to that is that that I've gone about as far as I can go without starting to copy cracking paint and that sort of thing. But I've missed a lot, which I can see looking at the post on my screen. Somebody's got to tell me where else I'm off. But at least she doesn't look as worried as she did last week! I'm multitasking heavily now, so I've got to run. But let's see what others' attempts will bring. I don't want to be alone in this. Besides, this is only the first part of the exercise/challenge.

[Karin Wells]

As an underpainting your study is much too dark. An underpainting is simply a first layer...a map to follow. The values need to be lighter because glazes and scumbles and opaque light will be layered on top. A dense dark layer underneath can make your top layers look "dead" and as you build light it will eventually upset the balance between light and dark.

As a value study you can get away with the overall darkness here as you continue to develop and refine the painting. Personally, I prefer a lighter and warmer value range. My painting of Mme. Ingres below illustrates how I would approach both an underpainting and a value study in one shot. Sorry I don't have a bigger picture for you.

[Michele Rushworth]

Contrary to what I had posted earlier, critiques of works posted in this thread can be made within this thread. It is not necessary to re-post an image over in the Old Masters section.

[Mike Dodson]

Michele,

Thanks for the suggestion. I used to copy the "Old Masters" quite a bit and am glad to try it again (I discovered I need more practice!).

Mine is a 14" x 11".