![]() For the painter there was just a limited range of available pigments for creating the whole range of oil paint colours. As a result the wide array of production of the Dutch school of painting was quite sophisticated both in the material and artistic sense.īefore attempting to discuss the formal and creative process, it seems worth wile to observe the actual daily practices and describe the set of artists’ material available to seventeenth century Dutch fine art painters. Dutch painters worked almost exclusively for the open art market and paintings were bought both for pleasure and as an investment.Īfter having received some 6 years of training in the master’s workshop a Dutch painter could bring his or her personal style and composition forward in applying paint with creativity. ![]() ![]() Both the artists’ training and the high quality of the materials used and their proper application guaranteed the durability of the painting. Workshop practices in the Dutch 17th century Republic were largely based on those of earlier Flemish art, safeguarding a high-level of craftsmanship and durability of both support and oil paints. Vermeer was not only a supreme painter in an aesthetic sense but also a fine craftsman, who worked within the time-honoured practices of masters of his guild and whose material legacy has come down more or less intact for some 340 years.
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