PROJECT 2: ROOM & NARRATIVE - Painting Analysis

ANALYSIS OF ‘YOUNG WOMAN WITH A WATER JUG’:


STRUCTURALLY - (E.O.D.: LINE, TEXTURE, TONE, COLOUR, DIRECTION, SHAPE, AND SIZE)
(P.O.D.: HARMONY, CONTRAST, DOMINANCE, RHYTHM, BALANCE):

- LINE: no dominance in particular, mainly thin, no thick lines  this painting is refined and sophisticated in aesthetic but somewhat secretive too. It exudes grace and femininity in a domestic interior space. Accented contours with diffused effect – thinly applied white paint along edge.

- TEXTURE: with some parts, it is hard to identify the texture of entities painted by Vermeer – such as the dress of the woman, although one can sense it is some kind of ’rich’ fabric – velvet perhaps? All over, the painting expresses a smooth texture – the paint has been applied in a delicate manner to reflect subject manner. Smoothness = grace, sophistication, timelessness (care has been taken in the application of paint and completion of painting).

- TONE: Contrast, yet balanced use of tone. Vermeer plays with light and dark  adds to the three dimensional aspect of his work  chiaroscuro (use of effects representing contrasts of light, not necessarily strong, to achieve a sense of volume in modelling three-dimensional objects such as the human body). Constant description of forms and space in terms of light and colour; soft, transparent effect of light (window), reflection (pitcher), modulation of wall colour; softness of light timelessness, quiet contemplation.

- COLOUR: harmony and balance of warm colours, use of white and three primary colours mainly (blue – dress, red – Persian carpet covering table and yellow – basin, map, jewel box, bodice of dress and wall). This implies the reality of the painting, it’s not superficial; creamy, stylish and glossy – chiaroscuro.

- DIRECTION: all direction – horizontal, vertical and diagonal. There is a subtle balance and rhythm of it that doesn’t overpower some of the other elements of design such as tone and colour. E.g.: the woman’s left arm extends the contours of the pitcher – the continuous diagonal creates a sense of flow, hence grace.

- SHAPE: contrast yet harmony of geometrical shapes of the map, table, window and jewellery box with the rounded curves of the basin and the main figure – the woman.

- SIZE: not so relevant.

- Space is shallow, not flat as it is an interior.

- Emphasis on SYMBOLISM: Map of Holland symbolises education, sign of knowledge. This was a time when artists were considered of a higher status – scholars/scientists from just being regarded as manual labourers. Woman = femininity, grace, refinement. Stained glass: allusion to religion, play of light was also important. Water and white/colour ultramarine: purity. Jewellery box: detail, ornate  upper class, intricacy. Oriental, Persian rug: allusion to other cultures – rarely used for floors but for tables, chests etc – intersection of two civilisations. Woman’s dress = purity and simplicity. Allusiveness.

- Scene described as somewhat monotonous, limited in action, confined to repetitive poses (rhythm) and simplistic view.

- Interior made of transparency, softness, serenity, harmony of values and absence of lyrical flights, effects of colour.

- Unity  Order and harmony – colour restricted to white, ochre/gray ground for warm base.

- Curves – womanly, feminine – balance with geometrical shapes (window, map, table, basin and pitcher).

- Contours and their rhythms, placement, relative clarity.

- Attachment to facial expression and body language

- Emphasis on open space.

- Pay attention to negative shapes/space.

- Composition: Woman forms a link – bridge, linking the two halves of the painting, subject of feminine beauty and virtue – she’s dressed in a proper manner, head covered not some bourgeois.


SUBJECTIVELY (EMOTIONS, FEELINGS):

- Simplification of subject matter, there is no distortion as Vermeer attempts to represent this particular scene as realistically as possible.

- There is use of dramatic tonal contrasts – makes the audience feel like they are present. This dramatic tonal contrast is accompanied by the use of warm colours, giving the painting this ‘cosy’ and ‘homey’ feeling.

- Pure colours: Amiable expression  warmth and sensation of restraint.

- The feelings that this painting evoke are that of calmness, gentleness, softness, warmth, no ambiguity, sense of airiness due to the light and warm colours (not dark), sense of growth (curves through woman), yet there is a sense of melancholy – pensiveness (although her face is expressionless), peaceful, soothing. The scene is inviting and is itself and ‘open window’ for us.

- Pensiveness: Her attitude brings to mind those moments in life when, immersed in private thoughts, one forgets limits of time and place.

- One feels somewhat mystified – texture is smooth yet it conveys this ethereal and surreal notion (even though it is an everyday act).

- Her movements are described as odd but perhaps it can suggest this idea of reverie the woman is experiencing – she feels somewhat attracted to the exterior – hence her opening the window, yet she is not done with what she started with (with the water pitcher).

- The woman’s calm serenity pervades the scene.

- Slow patient operation  slow progression, movement is slow not fast paced, makes you feel at ease, flow.

- Sense of privacy – private life.

- Peaceful, ordered lives, near sacramental.


CULTURALLY (ERA, REGION, SOCIAL IDENTITY):

- This work is secular in appearance – but perhaps does it have a religious insinuation to it (through stained glass window and the Dutch cap resembling a nurse head gear?)

- In a male dominated society, Vermeer attempted to represent women in a good light – he showed respect for them and unlike de Hooch, did not characterise them as drunk etc.

- Woman is shown in a respectful light  project will be designed for a woman.

- Some of the elements in the painting set the time frame and social class – the woman belongs to a high class (through her clothing and the pitcher).

- This is a depiction of everyday life – nothing out of the ordinary, nothing exciting.

- The fact that the woman is performing an everyday, domestic act shows that it was not a woman who painted it and that the majority of artists at the time were male – idea of subserviency, submission.

- Women: gentle looking, dreamy, demure/modest/reserved. Refined society ruled by morality and religion – frozen characters, eternity, continuous present.

- This painting was created in 1664-65 – it hence falls in the ‘classical tradition’ period – period in which the Church was in control of political and economical issues.

- Europe – City of Delft in Holland, Netherlands  although busy, site will be near a water body, a slightly secluded place for an individual who enjoys time on their own (not reliant on others).

- Site: inclusion of map of Holland shows sign of knowledge, impressive grasp of the figurative  forms part of site specificity  city/region similar to Delft (although a very busy place, impression of a city where all was peace and provincial calm).

- Project not too extravagant since: 17th C Dutch painting took great pleasure in the truth, everyday humanity and relaxed timeframe of such subjects, everyday acts.


OTHER:
- Materials: metal, glass