Vermeer's Camera by Philip Steadman
Uncovering the Truth Behind the Masterpieces

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Art historians have long speculated on how Vermeer achieved the uncanny mixture of detached precision, compositional repose, and perspective accuracy that have drawn many to describe his work as "photographic." Indeed, many wonder if Vermeer employed a camera obscura, a primitive form of camera, to enhance his realistic effects?
In Vermeer's Camera, Philip Steadman traces the development of the camera obscura--first described by Leonaro da Vinci--weighs the arguments that scholars have made for and against Vermeer's use of the camera, and offers a fascinating examination of the paintings themselves and what they alone can tell us of Vermeer's technique. Vermeer left no record of his method and indeed we know almost nothing of the man nor of how he worked. But by a close and illuminating study of the paintings Steadman concludes that Vermeer did use the camera obscura and shows how the inherent defects in this primitive device enabled Vermeer to achieve some remarkable effects--the slight blurring of image, the absence of sharp lines, the peculiar illusion not of closeness but of distance in the domestic scenes. Steadman argues that the use of the camera also explains some previously unexplainable qualities of Vermeer's art, such as the absence of conventional drawing, the pattern of underpainting in areas of pure tone, the pervasive feeling of reticence that suffuses his canvases, and the almost magical sense that Vermeer is painting not objects but light itself.
Drawing on a wealth of Vermeer research and displaying an extraordinary sensitivity to the subtleties of the work itself, Philip Steadman offers in Vermeer's Camera a fresh perspective on some of the most enchanting paintings ever created.

About Philip Steadman

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Philip Steadmanis Professor of Urban and Built Form Studies, University College London.
Published June 7, 2001 by Oxford University Press. 232 pages
Genres: History, Nature & Wildlife, Arts & Photography, Science & Math. Non-fiction

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A professor of "urban and built form studies" at London's University College, Steadman has worked for more than 20 years on the question of whether 17th-century Dutch genius Johannes Vermeer might have used an optic device called a camera obscura (literally, a "dark room") to help create his pain...

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Hence, The Young Vermeer, which will travel from The Hague to Edinburgh and lastly to Dresden, will be the first chance to view Vermeer’s formative early works in close proximity and shall no doubt will be a milestone in Vermeer studies.

Jan 16 2011 | Read Full Review of Vermeer's Camera: Uncovering ...

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