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Van Hoogstraten, made this point about ] makes them withdraw, and I therefore desire that which is to appear in the foreground, be painted roughly and briskly, and that which is to recede be painted the more neatly and purely the further back it lies.
Neither one color nor another will make your work seem to advance or recede, but the perceptibility or imperceptibility [ "Interestingly Van, Hoogstraten did not apply this proposition, which he advances with great emphasis, to his own paintings in the period which were smoothly executed, in both foreground and background."by Barry Tsirelson: The so-called "Kunstkamer" painting can be cautiously described as depictions of other paintings, collections of antiquities, sculptures, curiosities and other works of art, or paintings within a single painting.
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 discussion.
Some of these terms, signaled by an icon of the Vermeer's monogram and signature, are also discussed as they relate to specifically Vermeer's art.
Thus, after his three years or so as a pupil of the history painter Jacob van Swanenburgh (1571–1638) in Leiden, in 1624 Rembrandt (1606–1669) went to study with Pieter Lastman (1583–1633), also a history painter, in Amsterdam for about six months, before returning to Leiden to practice painting as an independent master.
Govert Flinck (1615–1660), who joined Rembrandt's studio in about 1633, while he was still using studio space in Hendrick Uylenburgh's premises, who was also a journeyman or assistant, rather than a pupil.
Each of the four sections of the glossary can be accessed from the menu top of each page of the glossary entries.
The terms in this glossary are cross-linked or externally linked , a stylish fur-trimmed yellow satin jacket, which is now synonymous with Vermeer's art, is represented in five other pictures of the 1660s and 1670s.
It had positive associations since antiquity and was regarded as a "warm color." The color of Vermeer's jack was probably obtained with a common dye called Dyer's Weed or weld (in Dutch, is represented countless time in Dutch interior painting, sometimes in views of market scenes, but it would not do for portraits.Traveling from town to town, journeymen would have gained experience in other workshops.Itinerant journeymen were not subject to most of the regulations protecting municipal craft guilds and unlike apprentices, they were not recorded in official sources such as the registers of the painters, and, thus, it is impossible to quantify the number of journeyman who worked in Dutch workshops.The folds of this jacket are handled so differently from picture to picture that it appears to be made of various kinds of fabric, although a side-by-side comparison of the shapes and the distribution of the spots on the fur trim of three paintings () assures us that it is one and the same article.The fact that the painter would have so willfully distorted the garment's folds but so carefully attended to the positions and shapes of the spots, which perhaps even Vermeer's wife would never have noticed, is somewhat perplexing. Gabriel Metsu (1629–1667) painted them many times, sometimes green or blue, occasionally yellow, but most often red.