"Jim Charter" <jrc### [at] msncom> wrote in message
news:4034f127$1@news.povray.org...

| the fact that only this small ouvre of paintings remains with
| almost no information about [Vermeer's] life.  The romantic
| fantasy of many a painter/artist I suspect.  The beauty of my
| paintings becomes my identity, not the squalor of my actual
| life.

Interesting. I missed any biographical part of the program, so I did not
know this about him.

| Shay:
|  I felt hugely happy with myself when I saw that he was fond
|  of a coloring technique with which I have been personally
|  experimenting.
| Jim Charter:
|  He favours thinly applied paint and the primaries,
|  yellow:blue:red. Like Mondrian.

The specific technique to which I was referring was his use of bending
hues while shading. I have been experimenting with separate splines to
control the saturation and brightness of shaded objects.

|
| Yes, maybe an overlarge postcard?  Personally I have completely given
| in to the seduction of seeing small, intimate paintings blown up to
| poster size.  There is too much of it around.  It takes too much
| energy to resist.  But it is a bit vulgar. Voyeuristic.

I remember seeing Dali's 'Persistence of Memory' and thinking "WTF? This
little thing is the source of all the giant posters."

I like small portraits like this one, however. They are very humble,
probably lower-priced at the time, and now a voyeuristic if indeed the
subject was a real girl. When the painting is semi-famous like this one,
then additionally there is a subversive quality, like an old family
portrait with a brother or sister who died during childhood and whom
noone has ever mentioned out loud.

| Maybe the modern appreciation of art is to
| violate it?

This special did more than blow the pictures up. Many were displayed as
3D wire-frames and the elements were moved to previous positions or
removed entirely to diplay composition effects. Very cool.

 -Shay

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