exhibition on screen: Vermeer

Exhibition on Screen: Vermeer

Wow, I’m new to all this art criticism,m but the gathering for Vermeer showed me how lucky I am to live in London. My claphamClaphamehouse had two screens, and both sold out. I bought one of the last tickets, which sold out in the west end.

He filmed at the Rijksmuseum, which shows the most comprehensive selection of his work and where the most forensic restoration for Vermeer has been taking place. I even read the taut middle-class battles of Guardian Journos to get a slot to see it all.

Myself only familiar with him via mass media and the girl with the pearl Earring. I have by my side as I write this a library borrowing I read and examined before going to the screening. 

Vermeer and the art of painting.

As I walk into the sold-out screening. I realise immediately the book has yet to see these works on a big screen.

As very little is known of Vermeer personally, we have relatively little of who, aside from the multi-faith household and more prominent family he had, leaving speculation on his work in catholic and Jesuit symbology and idols. But it’s seen as pragmatic and commercial at the earlier stages of his career. As such, we get a more meditative film that looks at his technique.

Unlike some artists, he is now sold on his personality. He is renowned for his product. And by the intricacy he brings to the inanimate that helps contract and define the passion in his living subjects.

Even his scenery, such as the little street. When blown up onto a silver screen, the level on the brickwork, the latches on the window shutters, and the agency of the people in the foreground doing chores or playing games hold a mesmeric quality at all times.

His View of Delft. Is photorealistic. While comments are made about his use of the camera obscura, there is little to explain what that is. But this work shows how, when billions are spent on underwater cgi, a man almost 500 years ago was creating a similar level of spectacle with reflection and shadow, and colour within those reflections on a simple canvas and paints.

The variety of specialists does bring a certain informative quality. There is some subjectivity in Vermeer’s morals as he seems to paint cautionary tales for young women with men. While showing faith in the background and ever-present, yes, should it be anonymised or disregarded is left to the viewer.

The centrepiece is the work of the girl in blue reading a letter. So much of his work is painted over his earlier drafts. Creating a certain sense of ‘a director’s cut’ in his career.

But there on the screen. I found it hard, it’s a work that rewards patience and concentration, and I sometimes felt exhausted trying to take it all in.

But at 90 minutes and a simple premise, it showed how cinema is a medium as much as an art. And a great way to explore the works of the world.

It’s on again on the 25th, and I hope you do go