Paris, 1921. The writer Marcel Proust discovers in the newspaper the excellent reviews of an exhibition of Dutch paintings at the Jeu de Paume. Contrary to his custom, he gets up early to go with JL Vadouyer, critic and acquaintance. His arrival is rugged. First suffering a dizzy spell down the stairs and as you travel unsteadily exposure needs to be sustained by his friend. But when he stands in front of "View of Delft" by Vermeer, can only confirm what he had felt the first time she saw him, twenty years ago in the Hague: " Then I realized I was staring at the beautiful picture the world. "
Vermeer's Shadow filters through all the work of Proust. In its relentless pursuit to get caught eventually found in Vermeer's work seemed to reflect their concerns. Because Vermeer's paintings are timeless nStant i . At the same time giving the impression of serenity and quiet, we understand that they all exude a sense of transience: the astronomer who picks up a point the map view, the woman who returns as required by a call, the maid to empty the jug of milk ... It is certainly not a coincidence that provided for references to Vermeer comes into question their relationship with the camera obscura. is that the arrest of those gestures we instinctively recalls photographic snapshots. None of the models could pose hours, even minutes, because it captures are momentary gestures. And the freeze, as you would like to Proust.
In the "View of Delft", costs a little more sense this feeling fugacity. The painter's models are his buildings, nature still. The people featured are mere ornaments. But it is, because it is inconceivable if the magic of this painting. In the sky of a summer afternoon, dark clouds overshadow the city. Only the passage of clouds ... can change everything. And as we've experienced many times, the feeling only lasts a moment.
In the "View of Delft", costs a little more sense this feeling fugacity. The painter's models are his buildings, nature still. The people featured are mere ornaments. But it is, because it is inconceivable if the magic of this painting. In the sky of a summer afternoon, dark clouds overshadow the city. Only the passage of clouds ... can change everything. And as we've experienced many times, the feeling only lasts a moment.
Choose the time to paint a picture requires exceptional sensitivity. Because the birthplace of the painter could have been represented with a radiant light, which highlights the colors and make it shine in the sun. However, Vermeer used the contrast of light to give meaning to a composition that could be affected by excessive horizontal.
A first division, establishes two parts: heaven and earth. The skyline is slightly lower than half.
Yet the visual weight of the sky, that would be huge to be resolved in light colors, is offset by the dark cloud that frames the top and it thins. The land is divided into three sectors , marked by the first plane of sand, river water and the rooftops . These is where Vermeer displays an exquisite palette within two basic tones. The blue and orange. Because the painting, like all of the author, is constructed as a filigree of nuances.
This is the palette of the View of Delft. are a few variations of two opposite colors are complementary. therefore, to choose is a risk that could lead to stridency. The balance that permeates the picture comes from its saturation point. Vermeer never placed next to a blue or orange pure, unadulterated white or black. If we look at the rooftops, the tertiary colors are blue, black or mixed, while the orange glow next to it in all its glory. On the right, the yellow and white are offset by blue gray. The patch of blue sky spectacular highlights from the gray clouds, while yellow soil is shaded by the gray-blue water.
Many authors have noted that, in the sunlit area of \u200b\u200bthe city, stands the tower of Kirke Neue, the principal church of the city of Delft. 
Among the possible symbolic meaning, it emphasizes the v instilled with the monarchy of the Netherlands, as in the soil is buried the first member of the dynasty, William of Orange, and architect independence. But also, the church was named Vermeer himself, and be buried there. Using the contrast created by the dark mass of roofs, the brightness of the tower would catch the eye of the beholder.
always described in this table, the use of stippling to create the sense of reflection on the water, on boats and buildings. It has been related to the effects produced by lenses in the images formed by the camera obscura. It seems, however, that there are discrepancies about it.
always described in this table, the use of stippling to create the sense of reflection on the water, on boats and buildings. It has been related to the effects produced by lenses in the images formed by the camera obscura. It seems, however, that there are discrepancies about it.
I am interested to note that while this effect is artificial, looking at the table is no distortion in it. It becomes natural in the table like I could not be resolved otherwise. Vermeer's style, its perfection.
Proust made a recreation of his visit to the exhibition, making the final revelation that precedes the death of an artist. The writer of his work, Bergotte, suffers an attack, partly because of the "View of Delft." A small part of the table, on which experts do not agree, it does deal with a critical eye to his own work. The writer, initially fueled by imaginary diseases, suffers a catharsis that leads to death.
Proust made a recreation of his visit to the exhibition, making the final revelation that precedes the death of an artist. The writer of his work, Bergotte, suffers an attack, partly because of the "View of Delft." A small part of the table, on which experts do not agree, it does deal with a critical eye to his own work. The writer, initially fueled by imaginary diseases, suffers a catharsis that leads to death.
Proust's gaze not only increases the greatness of Vermeer. is reading sensitivity grasp the ungraspable concerned . The transience that escapes us, volatile, and time. However, for those mysteries of art, we feel that summer evening, shadowed by a passing cloud, in the seventeenth century Delft, as he felt as he received Vermeer and Proust.
I also think, if not the most, one of the most beautiful paintings in existence.
I also think, if not the most, one of the most beautiful paintings in existence.
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