Light, Geometry, Mind

  Johannes Vermeer was a Dutch painter of the Baroque period, born in 1632 in a middle-class family in the small town of Delft, Netherlands. Most of his works are mainly about depicting the customs and market life, and there are many female characters in the paintings. They are either dignified, soft, or beautiful, and there is no record of the identities of these models. Vermeer’s remaining works are few, and his life is also limited. In addition, in addition, his understanding and depiction of light is exquisite and advanced, so some people say that he has provided more new things in painting skills than many contemporary painters put together. Vermeer hardly ever left his hometown, not even Amsterdam, all his life he painted in his own way. Having many children and living in embarrassment, he sometimes had to use oil paintings to pay off his debts. Even so, the paintings he sold during his lifetime were only a few, and most of the rest were left to his wife. He has been painting for himself all his life.
  In the seventeenth century, Delft, a quiet and gentle town, with delicate and small canals, Vermeer, a lonely and quiet painter, was hidden in a baroque architecture and a Venice-like country house with circuitous waterways. “Fute Scene”, the emotion contained in him will always be fixed in the canvas, and this kind of stable deepness will always be fixed in the heart of Proust, the author of “Reminiscence of the Time Like Water”, who stopped to miss it. In 1921, Proust went to see an exhibition of Vermeer’s paintings, which was the last time he left the house, and then stayed at home. He wrote about that experience in “Reminiscence of the Time Is Like Water” – “Finally, he came to Vermeer’s painting, which he remembered was more splendid and unusual than any other painting he knew well, however, because of the Critic’s article, he noticed for the first time some little people in blue clothes, the sand is rose red, and finally a small piece of precious material for the yellow wall… On the scales of the kingdom of heaven, the scales at one end held himself life, and at the other end is the yellow wall painted so beautifully.”
  Through the study and comparison of Vermeer’s works, art historians found that when he described light, he grasped the geometric principles perfectly, and the depiction of points, lines and surfaces was extremely real and precise. Master painters infiltrate geometric principles into their canvases, and the characters and props they draw are exquisite in structure, real in shape and rich in emotion. The depiction of space is not a traditional method, but is drawn with structural lines. The depicted characters are in the house in the painting, but they cannot see that the room itself is restricted or imprisoned by any lines. It is completely geometric and realistic. Three-dimensional space, light pours naturally on the cheeks, walls, maps, curtains, chairs, jugs, breads of the characters, and his paintings reveal a soft rational light, which is delicate, gentle, and dimensionless. The figures or scenes in Mir’s paintings float lightly in the gentle light, almost melted into it. There is no pain, no tears, no tragedy here, only a faint melancholy pervades the texture of the painting. Melancholy is a prayer.
  Vermeer’s use of geometric principles should be implicit. In the creation of artistic painting, geometric principles are usually not the most important, and painting tends to focus more on the mind, imagination, creation and consciousness. Whether a painting strictly conforms to a certain proportion and configuration is not an important criterion for evaluating its quality. Then, in the actual painting process, whether the painter will take into account this geometric principle, the answer is yes. Except for some special themes, individual abstract and image paintings will not use geometric thinking too much, and general paintings will hide strict geometric configurations. Vermeer is such a master. He faithfully portrayed the light and the true form of every object placed in the room. Most importantly, after careful analysis of points, lines and surfaces, it is not difficult to find that his paintings possess strict geometrical configuration and mathematics. in principle. Taking “Music Lesson” as an example, Vermeer placed a mirror directly above the clavichord, and the black lower frame of the mirror overlapped with the black edge of the lid. He believed that through the clavichord and the rectangular geometry of the young woman, such a creative connection could create a vertical visual extension, and through the reflection in the mirror, Vermeer emphasized the importance of the composition and torso of the woman in the painting. sex. The delicacy of what he expresses in the mirror is remarkable, and he places the scene into the mirror instead of just painting the surface with small reflections that are distorted by the tilted angle of the mirror. He carefully recorded the vistas of the table and floor and the natural light cast from the windows on the woman. A horizontal parallel line on the left wall intersects a vertical line from the ceiling to the floor, there is also a short line for the chair and cello, and all other lines intersect vertically, drawing our sight systematically, like a signpost, from one object to another on the object.
  Looking at Vermeer’s paintings with a geometrical eye, the world is beautiful. If we appreciate Vermeer’s paintings with our hearts, we will see a variety of worlds.
  Vermeer’s works “The Girl Standing at the Window Reading a Letter”, “The Young Woman Holding a Water Jar”, “The Maid Who Pours Milk”, “Small Street” and so on constitute the core works of Vermeer. The temporality of specific forms, we can experience eternity from the temporal continuity of these paintings in different ages. At the same time, you can also experience the emotions that a painter creates with his heart in his life. Whatever the mind comprehends in accordance with the guidance of reason, it comprehends in accordance with the same form of eternity or necessity, and therefore feels the same certainty. So whether the idea it gets is that of the future, or the past, or the present, the mind understands by the same necessity, and thus it gets the same certainty. And whether the ideas it gets are ideas about things in the future, the past, or the present, they will all be the same true.
  To understand Vermeer’s works, no matter whether the ideas obtained are things in the future, things in the past or things in the present, the painter, the person being painted or the viewer, the feelings of the heart are the same, people’s feelings of beauty are the same, and they are not affected by it. Constrained by time and space, Vermeer’s paintings just show the beauty of human nature and the beauty of life in the eternal and infinite extension. For example, in “The Girl with a Pearl Earring”, the girl’s startling glance, the emotion of the soul is about to stop, the eyes seem to tell a touch of sadness, but also like water; The shy and mysterious beauty; the lips are slightly parted, still hesitating, and the eyes complement each other, making the black of the eyes clearer and the red of the lips more hesitant. The beauty of melancholy and hesitation burst out from her heart, and her eyes were heartbreaking, as if she would never come back. It is past, future, or present. For Vermeer, it may be to use the emotions of the past to paint the present paintings and predict the beauty of the future. Of course, this is a comprehensive perception of time, space and emotion. In addition, the teardrop-shaped pearl of the girl in the painting is slowly held out in the dark background. The meaning of the pearl in the painting is rich and profound, which can only be felt with the soul, and is still not bound by time and space. The light in the girl’s eyes, her lips, and the brilliance of pearls formed a solid triangle. The artist’s depiction of the girl is very affectionate and meticulous, so the beauty it embodies is frozen in more than 300 years ago, and the sublimation of the soul has become eternal, which makes people who stop to watch it for a long time unable to extricate themselves. This painting is known as the “Mona Lisa of Northern Europe”.
  The beauty of art lies not only in the fact that it carries the real material world, but also in the fact that it contains infinite spiritual thoughts, and more importantly, it embodies the commonalities of beauty. These commonalities are expressed in geometry as those Perfect spatial structure and analysis of the material world; expressed in human emotion is a never-fading thought and analysis of the spiritual world. Vermeer uses an unbelievable method to freeze the eternal beauty and present it to the world.