No drawings have been positively attributed to …

Years: 1664 - 1664

No drawings have been positively attributed to Vermeer, and his paintings offer few clues to preparatory methods.

David Hockney, among other historians and advocates of the Hockney-Falco thesis, has speculated that Vermeer used a camera obscura to achieve precise positioning in his compositions, and this view seems to be supported by certain light and perspective effects.

The often-discussed sparkling pearly highlights in Vermeer's paintings have been linked to this possible use of a camera obscura, the primitive lens of which would produce halation.

Exaggerated perspective can be seen in The Music Lesson or Lady at the Virginals with a Gentleman (1662-1665).

Vermeer's interest in optics is also attested in this work by the accurately observed mirror reflection above the lady at the virginals.

However, historians dispute the extent of Vermeer's dependence upon the camera obscura: other than assumptions made by an analysis of his style, there is no evidence, either scientific or historical, that Vermeer ever owned or used such a device.

Johannes Vermeer: The Music Lesson or Lady at the Virginals with a Gentleman (1662-1665)  Oil on canvas, 74.6 cm × 64.1 cm (29.4 in × 25.2 in), Royal Collection, St. James's Palace, London

Johannes Vermeer: The Music Lesson or Lady at the Virginals with a Gentleman (1662-1665) Oil on canvas, 74.6 cm × 64.1 cm (29.4 in × 25.2 in), Royal Collection, St. James's Palace, London

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