The mysteries of a Tronie (3/4)
Edwin participates in the Summer Fine Art Exhibition at Art Nocturne Knokke (B).
Comparison of pigments used
Vermeer’s palette included the following colours, according to Vandivere’s research: vermillion, carmine, lead white, carbon blacks, weld (a yellow pigment of organic origin), earth pigments, ultramarine (lapis lazuli), and indigo.
Both Vermeer and Edwin employ lead white, particularly in the flesh and highlights like her eyes.
Both painters employ authentic vermilion and carmine in their red colors. However, there is a distinction: Vermeer employed both colours in the flesh, whereas IJpeij used vermilion and earth pigments. IJpeij solely used carmine on the lips. Weld is a non-light yellow organic pigment. Vermeer employed indigo and a green glaze over a dark backdrop. The backdrop of IJpeij is a blend of green omber and dodekop red. Vermeer utilized the other hues in the girl’s clothing. These pigments were not utilized on IJpeij’s Girl with the Mysterious Eyes since she does not wear any clothes.
Conclusions
To begin with, creating a tronie is a fascinating creative endeavor. Capturing the model’s personality requires “catching” her shapes and occasionally exaggerating them somewhat. The artistic process of settling on a composition and sculpting it with tone is an emotional process.
Second, the materials employed in the artwork have a remarkable resemblance. Pigments, oil, and primer are all very similar. This means that the old masters carefully documented their secrets in such a way that a scientist can accurately understand them.
Finally, IJpeij has demonstrated beyond question that it works perfectly according to the techniques of the great masters.
