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Christian Girault (French Kriss) | profile | all galleries >> Painting 1974 - 2014 >> 2010 - Including Vermeer - Realization blog tree view | thumbnails | slideshow

2010 - Including Vermeer - Realization blog

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Including Vermeer - Realization blog




"Including Vermeer" was in my head for some time. In September 2010, during a trip to Amsterdam, it was obvious for me to jump in The Hague to visit the Mauritshuis Museum. She was there! In all the splendor of Vermeer ... The "Girl with a Pearl Earring" is for me a timeless picture, incredibly virtuoso; the fact of seeing it, of scrutinizing it was an important moment of my life, believe it. Moreover, after a first viewing, I returned three times to see it (her).

Then I had to let the idea develop ... and watch several times the eponymous film by Peter Webber, in order to set the mood.

The concept of the painting is derived from three works by Vermeer:
- Girl with a Pearl Earring,
- The Music Lesson,
- The artist's studio (in which some argue that Vermeer himself is the character of the painter).

After realizing the model of my idea, I had big doubts about the tiled floor of bourgeois type in a painter studio (on the painting "The Music Lesson"); realization will efface it, replacing it with some similar floor seen into the studio of Rembrandt House in Amsterdam.

November 18: beginning the painting activities; I usually paint "per zone", by successive plans, the foreground being made in the end, and not from an overall painted sketch, and by strengthening this first layer, if necessary with glaze. First step, the background and the Delft tiles. Note the jagged edges and the hollow impression they offer after cooking.

November 20: I must try to soak up the famous Vermeer light, smooth, for the lightning of the studio. The ribs of the windowpanes will wait the drying of the clear layer to appear on the canvas.

November 23: there, I really enters into the realization of the painting. But I had an extremely disturbing and stressful feeling: I was a prisoner of Vermeer's technique. And if I do it as I suppose he did, the effect will not be lifelike. So, the work was very humble for the fabric of Griet's headdress (her name is Griet in Peter Webber's film). 15:30: natural light suddenly comes to fall, I need to procrastinate the continuation.

November 24: I finish the dress of Griet, again working in the technic of Vermeer.

November 25: work begins with very fine brushes. How to stretch a canvas in the manner of the seventeenth century was inspired by Rembrandt's studio in his house-museum in Amsterdam.

November 27: the clothes of the painter on the picture "The artist's studio" I did not like. So, I am inspired by those worn by Colin Firth in the film by Peter Webber, to invent other ones; I think it better suit to the general atmosphere of the picture; similarly I did for the studio floor.

November 30: another little brush work, Vermeer's legs and the stool on which he sits. For the picture on the wall, I used a photo from the film by Peter Webber, but I changed the colors to make it more consistent with the northern cities. I suspect the scene of the movie being filmed in Venice, the shape of windows seems not very Dutch. 15:00: the weather comes to turn to snow, no more natural light. Stop!

December 1: I go back with very careful things, the picture frame and ribs of the windowpanes. A break in the nervous impulse with the edge of the wall between the studio and Griet.

December 4: I must be very concentrated to start the face of Griet. It may seem a relatively simple face, it is however rather tricky: indeed, one can cling to very few things and Vermeer painted everything so blurry, except the eyes. This takes me longer than expected, starting from the forehead to the chin. The shining effect of the pearl is actually quite easy to obtain. Do not forget the reflection of the pearl on the bottom of the cheek ... At the end of the day of natural light, I only painted half the face and used up my nervous impulse.

December 5: it remains the nose and lower face, which take less time than the day before, still working blur. Also some retouches on the eyes to soften them.

Total work took forty-five hours. After that, I have to extend my great respect for the work of Johannes Vermeer and his incomparable sense of light.

Including Vermeer - Le concept du tableau
Including Vermeer - Le concept du tableau
Including Vermeer - 18 novembre
Including Vermeer - 18 novembre
Including Vermeer - 18 novembre
Including Vermeer - 18 novembre
Including Vermeer - 20 novembre
Including Vermeer - 20 novembre
Including Vermeer - 20 novembre
Including Vermeer - 20 novembre
Including Vermeer - 23 novembre
Including Vermeer - 23 novembre
Including Vermeer - 23 novembre
Including Vermeer - 23 novembre
Including Vermeer - 23 novembre
Including Vermeer - 23 novembre
L'atelier de Rembrandt dans sa maison d'Amsterdam
L'atelier de Rembrandt dans sa maison d'Amsterdam
Including Vermeer - 25 novembre
Including Vermeer - 25 novembre
Including Vermeer - 25 novembre
Including Vermeer - 25 novembre
Photo extraite du film pour réaliser la tenue de Vermeer
Photo extraite du film pour réaliser la tenue de Vermeer
Photo extraite du film pour réaliser la tenue de Vermeer
Photo extraite du film pour réaliser la tenue de Vermeer
Including Vermeer - 27 novembre
Including Vermeer - 27 novembre
Including Vermeer - 27 novembre
Including Vermeer - 27 novembre
Photo extraite du film pour réaliser le tableau accroché au mur
Photo extraite du film pour réaliser le tableau accroché au mur
Including Vermeer - 1er décembre
Including Vermeer - 1er décembre
Including Vermeer - 1er décembre
Including Vermeer - 1er décembre
Including Vermeer - 1er décembre
Including Vermeer - 1er décembre
Including Vermeer - 5 décembre
Including Vermeer - 5 décembre
Including Vermeer - 5 décembre
Including Vermeer - 5 décembre
Including Vermeer - 5 décembre
Including Vermeer - 5 décembre
Including Vermeer - The pearl earring
Including Vermeer - The pearl earring