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With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

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Some on PoL, and more elsewhere, have taken seriously the book Secret Knowledge, part-authored by David Hockney, suggesting that Vermeer must have used the camera obscura to achieve his perfection in perspective.  Well, this link might interest them - I certainly can't say that Hockney was entirely wrong, since I wasn't there at the time (but then, neither was he): I can however say that it's extremely unlikely.  Follow the link - I forget how to make it live, just highlight it and right-click - and see what you think. https://skeptoid.com/episodes/4707
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

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Better, highlight it, click, then right click.  

Dmitry Shaklanoff-von Seipt

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I saw people in London life classes and elsewhere achieving in 10 - 15 minutes excellent likenesses without camera obscura, lucida, etc. It's probably not too late for Hockney to take lessons.

Norrette Moore

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That'd be me, Robert. :-) I will take a look at that site when I've got all my kit working*. But Hockney didn't just look at Vermeer. He analysed which optical equipment was available at the time, and worked with others on the project.  Most of the discussion was less on portraits but on buildings, ephemera, even a rug bending over the end of a table and the strange focus that a mechanical lens would create as opposed to the human eye. What's also illuminating, is the lengthy discussion between David and Martin Kemp, to name but one. Flicking through the pages, I lighted on this letter: Kemp said (whilst not abandoning some of his skepticism) "There is a marvellous drawing by Raphael of the head of the Pope. If any Raphael drawing was made with a lens, this would be a candidate"   I would recommend this book (Secret Knowledge) wholeheartedly...if only to make oneself feel better when scrutinising the Old Masters at a gallery. ;-) *It's as well I have been without broadband for some days (since a car driver decided to write off our local broadband cabinet).  As I happily avoided joining in a certain thread, which is now closed, thank goodness!

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by Norrette Moore

With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

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The trouble with the assertion that a camera lucida was used - Canaletto was another thought (by some) to have used it - is the total lack of evidence; and in the case of Vermeer, the problem of light in interiors: not enough of it to make it work. A detailed inventory of Vermeer's possessions was made on his death - he owed a lot of money to a lot of people, they had to make a valuation - not a camera lucida in sight.   None of any of that affects my opinion of Hockney as an artist; just not too convinced that he has much to say as an art historian - though I've heard him talk about the old masters, and found him quite illuminating when discussing such things as pigments, light, the artistic approach in general.  It wouldn't limit my admiration of any old master who did use the camera lucida or other devices that were available, either.  On the other hand, I don't think it's a conclusion with much evidence behind it - more likely, in my opinion (and opinion is all it is) that: they could just paint.  They were good at it.... 

Norrette Moore

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Good point about the light in Vermeers studio. Although the use of a curtain (although perhaps an artistic design choice) could maybe give a clue.  Yes, they were good.  With fewer distractions than the C20th, C21st artists have. I should be painting!