Fading into the background: the dark space surrounding Vermeer’s Girl with a Pearl Earring

Vandivere, Abbie; Loon, Annelies van; Callewaert, Tom; Haswell, R.; Gaibor, Art Ness Proaño; Keulen, Henk van; Leonhardt, Emilien; Dik, Joris

doi:10.1186/s40494-019-0311-9

Cited by 11 publications

(40 citation statements)

References 20 publications

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“…A fragment was analysed using thermally assisted hydrolysis and methylation, pyrolysis gas chromatography-mass spectrometry (THM-Py-GC/MS), which determined that the binding medium of the ground is linseed oil. This confirms the results from the analysis by Groen et al [4], but specified that the linseed oil had been prepared by heating [8].…”

Section: Discussionsupporting

confidence: 90%

“…This helps to answer the third research question posed by the Girl in the Spotlight project: Which techniques did Vermeer use to create subtle optical effects, including the transition between light and shadow? The role of the underlayers in other areas of the painting are discussed in greater detail in other articles in this digital volume [5][6][7][8].…”

Section: Introductionmentioning

confidence: 99%

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Revealing the painterly technique beneath the surface of Vermeer’s Girl with a Pearl Earring using macro- and microscale imaging

Vandivere¹,

Loon

Dooley

et al. 2019

Herit Sci

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The initial steps that Johannes Vermeer took to create Girl with a Pearl Earring (c. 1665) are, partially or completely, hidden beneath the painted surface. Vermeer's painting technique involved applying underlayers that vary in colour and thickness, on top of which he applied the upper paint layer(s). To investigate the painting's genesis, the Girl was examined using non-invasive scientific imaging as part of the project The Girl in the Spotlight (2018). This was complemented by the re-examination of existing paint cross-sections using microscopic analytical techniques, including focused ion beam-scanning transmission electron microscopy (FIB-STEM). The weave of the canvas, visible in the X-radiograph, was examined using a new computer-assisted thread-level canvas analysis algorithm to measure the thread spacing and thread angles. The canvas was primed with a warm light grey ground, although probably not by Vermeer himself. The tinted ground provided neutral base tone upon which he began to lay in areas of light and shade in his composition, and some outlines around the figure. Multispectral infrared reflectography( MS-IRR) images in four spectral bands spanning the spectral range from 900 to 2500 nm were collected of the painting at high spatial resolution (50 µm/pixel). Visible 3D digital microscopy visualised the underlayers where Vermeer left them visible around the perimeter of the figure as a contour, and where the upper paint layers are thin. These infrared reflectograms and visible micrographs identified three distinct preparatory phases of Girl with a Pearl Earring: the ground, fine black outlines, and underlayers. Some pentimenti were also detected, including a change in the position of her ear. The combination of examination methods showed that the materials beneath the surface played an important role in establishing the three-dimensional space, fall of light, and the eventual colour in different areas of the painting.

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Section: Discussionsupporting

confidence: 90%

Section: Introductionmentioning

confidence: 99%

Revealing the painterly technique beneath the surface of Vermeer’s Girl with a Pearl Earring using macro- and microscale imaging

Vandivere¹,

Loon

Dooley

et al. 2019

Herit Sci

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“…Vandivere et al ; c False-colour spectral unmixing map displaying the distribution of fluorescence endmember spectra shown in e, including the 'red' endmember with 620 nm emission peak, the 'blue' endmember with 707 nm emission peak, and the 'green' endmember with a slowly decreasing emission intensity; d raw fluorescence emission spectra from the FIS data cube from which the endmember spectra (e) were calculated to make the map in c; e Endmembers used for spectral unmixing. The 'red' and 'blue endmembers were calculated by subtracting off a scaled spectrum of the component with slowly decreasing emission, shown with a 'green' dashed line [21] determined the composition of this underlayer from three re-analysed cross-sections: it is predominately charcoal, based on the presence of carbon and the appearance of splintery particles. They also confirmed that the glaze in a sample from the lower right-one that was also examined by Groen et al [6]-appears yellowish with transparent blue spots.…”

Section: Introductionmentioning

confidence: 99%

“…8f ). The diagonal lines visible in the lead map has been interpreted as the modelling of a possible draped fabric, such as a curtain [21]. Groen et al [6] reported the presence of a little lead white in the glaze.…”

Section: Introductionmentioning

confidence: 99%

“…This was confirmed during the 2018 re-examination of the cross-sections. This led Vandivere et al [21] to conclude that the pattern observed in the MA-XRF Pb M map is due to small additions of lead white in the glaze to vary the colour on the right side of the background. The RIS results lend support to this hypothesis and provide a more complete understanding of the colour variation in the glaze layer of the background.…”

Section: Introductionmentioning

confidence: 99%

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Mapping the pigment distribution of Vermeer’s Girl with a Pearl Earring

et al. 2020

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As part of the 2018 Girl in the Spotlight project, reflectance and molecular fluorescence imaging spectroscopy (RIS, FIS), and macroscale X-ray fluorescence scanning (MA-XRF) were performed on Johannes Vermeer's Girl with a Pearl Earring (c. 1665, Mauritshuis) with the goal of obtaining a comprehensive understanding of the distribution of pigments. Prior analysis of cross-sections in the 1990s, and their recent (re)-examination identified many of the pigments present in the painting. The results from all three imaging methods, along with site-specific fibre optic reflectance spectroscopy, confirmed Vermeer's limited palette and determined how and where each pigment was used. RIS and MA-XRF found the blue region of the headscarf was painted with natural ultramarine and varying amounts of lead white. The yellow part of the headscarf was painted with yellow ochre and lead white, and the border of the headscarf additionally contained ultramarine and lead-tin yellow. The lit side of the jacket was painted with yellow ochre, lead white, and ultramarine, whereas the darker, ruddy blue-green areas that are in relative shadow contained yellow ochre with ultramarine. FIS also mapped a red lake in portions of the shadowed areas at the back of the jacket. The Girl's skin was painted using earths (ochres), lead white, vermilion, and some red lake. Fluorescence emission from red lake was strongest in the lips, where vermilion was also found. The pearl earring was depicted using a scumble and highlight of lead white. In the dark background, the RIS data cube allowed the determination of the visible spectral shape even though the overall reflectance intensity was low (1 to 3%). A reflectance inflection point at ~ 700 nm indicated the presence of indigo, whereas lack of a reflectance peak at green wavelengths in most areas indicated degradation of the yellow pigment previously identified as weld. Some small green areas in the background (i.e. reflectance maximum at 525 nm) were found; these coincided with areas previously protected by old retouchings, and are thus better preserved. The combination of all three spectral imaging modalities provided a more complete understanding of how the colouration of the painting was achieved.

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„Gemälde verwelken wie Blumen“

Karl¹

2022

Chemie in nserer Zeit

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Zusammenfassung „Gemälde verwelken wie Blumen“, musste schon Vincent van Gogh erkennen. Er ist bekannt dafür, wenig stabile Pigmente und Farbstoffe verwendet zu haben. Der Artikel beschreibt anhand von Beispielen, wie chemische Reaktionen und physikalische Einflüsse wie Licht und Wärme zu Farbveränderungen führen. Darüber hinaus verändern aber auch das Dunkeln des Firnis und das Vergilben von Ölbindemitteln das ursprüngliche Aussehen von Gemälden.

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Fading into the background: the dark space surrounding Vermeer’s Girl with a Pearl Earring

Cited by 11 publications

References 20 publications

Revealing the painterly technique beneath the surface of Vermeer’s Girl with a Pearl Earring using macro- and microscale imaging

Revealing the painterly technique beneath the surface of Vermeer’s Girl with a Pearl Earring using macro- and microscale imaging

Mapping the pigment distribution of Vermeer’s Girl with a Pearl Earring

„Gemälde verwelken wie Blumen“

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