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"Jim Charter" <jrc### [at] msn com> 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.
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| 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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