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An artist’s greatest tool is their brushes. From having better control on the amount of paint applied to achieving more precise line work, the right kind of brush plays a huge role.

1. Virtuoso Paint Brushes
2. Virtuoso Paint Brush Set
3. Virtuoso Fine Paint Brushes

But will buying a set which is considered as one of the best model brushes among your peers be enough? Well, the answer to this question is No”.

©2005-2021 Virtuoso, LTD. California CST# 2069091-50, Washington UBI# 601554183.

Thus, to make sure that you can buy a brush set that suits you, here a buyer’s guide along with reviews of the 4 most well-loved sets have been provided. So, without further ado, here we go:

• Da Vinci Maestro Kolinsky Sable Round. First of all, we have the most praised art supplies brand –.
• Paper & Brush Studio, Amsterdam: Address, Phone Number, Paper & Brush Studio Reviews: 5/5.
• Virtuous Arts Fine Paintbrushes, Handmade Detail Paint Brush Set - for Acrylic, Watercolor, Oil - Includes Deluxe Carry-Case (20 Pack).
• For the viewer, seeing these virtuoso effects may be exhilarating rather than daunting as could be the case with the products of fijnschilder paintings. Loosely painted works may even form an enticing invitation to take up the paint brush oneself and try to copy some spectacular effects. The loose style has an added neurological bonus.

Paint 12pc by D’Artisan Shoppe – Best for Beginners

Aren’t you tried of flaking paint on handles? The manufacturer claims that designing them like this will allow the user to reach small or tight spots or points and get precise outcome. Micro detailing on figurines, airplanes, cars, dolls, ships and other models can be done with accuracy.

The design plays a huge role and the set contains fine tipped brushes. The company also mentioned that these brushes can be used for rock painting and creating illustrations of botanical or wildlife.

The model brush set contains 12 pieces, and if you are a beginner then they will be plenty to master your craft. It is an affordable synthetic alternative option which contains 12 miniature paint brushes which includes Flats (0 and 1), Liners (4/0, 3/0, 2/0, 0 and 1), Rounds (4/0, 3/0, 2/0, 0 and 1), Brush Holder and Dust Bag to keep moths away. It is hand crafted individually and also double crimped which provide non-loose ferrules or bristles.

• The synthetic best model brushes set is suitable to work with different types of paints like oil, watercolor, enamels, acrylic, gouache and also citadel.
• It is designed with ergonomic handles (triangular shaped) which allows the user to work with them for a long time minimizing the downsides of fatigue.
• It comes with portable case (plastic) which allows easy storage and also helps to carry it anywhere. The company also provides a dust bag which provides extra protection.
• All round brushes come with protective covers to reach you in pristine condition.
• Easy To Clean – 7 layers of UV coated paint on handles means no flaking paint off your handles.

• If not taken care of properly, the synthetic hair tend to fall off.
• Not suitable for professionals.

MyArtscape – Best Value for Money (Best Price)

The detail paint brush set containing 12 pieces happens to feature the best Korean filament as per the manufacturer and also promises to have durable handles that do not lose their shape overtime.

Aren’t we all tried of the brushes losing their shape constantly?

The manufacturer even paid attention when it comes to the quality of the brushes.

The company even uses robust, strong packaging which ensures the ferrules or hair is not damaged in transit.

It is a great value for money product as at an affordable price, the company is providing Flats (0 and 1), Liners (4/0, 3/0, 2/0, 0 and 1) and Rounds (4/0, 3/0, 2/0, 0 and 1). With these 12 brushes, the user can enjoy art painting, detailed face or portrait painting, wargaming, model airplanes, miniatures, airplanes, army figurines and Warhammer 40K.

• The brushes are super fine which allows detailing with ease.
• It claims to have durable handles as well.
• It comes with a 1-year replacement guarantee and can be returned without any hassle.

• The handles or the shape is not ergonomic.
• Does not come with a box or bag for storing.

Virtuoso – The All-Rounder, Perfect for all (Editor’s Choice)

Are you a beginner trying to find best model brushes to start? Are you a professional looking for a set to take your craft to the next level? Or are you looking for set with which you can practice with and then use it after you have become an expert? Keeping these needs in mind, the manufacturer tried their best to produce this15-piece set made with good quality, durable materials.

The specialty of this set is that the brushes have thicker and shorter handles. The designing of the handles allows the user to use it comfortably while being able to produce precise lines. The Korean filament are super fine and comes with anti-shedding bristles.

The 15 pieces consist of a wide range of brushes including Flats (0 and 1), Rounds (4/0, 3/0, 2/0, 0 and 1) and Liners (4/0, 3/0, 2/0, 0 and 1). As per the manufacturer, the user can paint with oil, enamel, watercolor and acrylic paints. The bristles play a huge role behind the popularity of this brush set. It is made withfaux hair which a durable and crimped securely ferrules that can use for face painting, miniatures, adult coloring books, different complex figurines, models and doll houses. The company even mentioned that the paint brushes can be used for nail art as well.

• All brushes are inspected by experts and packaged in such a way so that they are not damaged in transit.
• Made to be durable and long-lasting.
• It comes with a lifetime replacement guarantee.

• It is not suitable for all types of paints.
• It is bit on the expensive side.

Nicpro – Professional’s Go-To Choice

Are you a professional looking for that best model brushes that can cater to all your artistic needs?

This 15-piece set is known to be a favorite of many professionals who swears by this brush.

The best thing about this brush set is their uniquely designed handles.

As per the manufacturer, the design of the handles was made in this unique shape for two reasons. Firstly, the user can paint with them for hours without issues like straining or cramping. And secondly, the design prevents them from rolling away keeping the workspace organized and clean or mess-free.

With this model brush set you will get Spot (0 and 1), Flats (2/0, 0 and 1), Rounds (4/0, 3/0, 2/0, 0 and 1) and Liners (4/0, 3/0, 2/0, 0 and 1). With these brushes achieving fine detailing work will be made easy. The company claims that the brushes can be used to paint on action figures, models, doll houses, dolls, rocks and other such subjects. If you mainly work with watercolor, oil and acrylic then this brush might will help your work.

• It is made with synthetic hair which do not cause hair shedding or splitting.
• The company provides a portable container made with good quality plastic and a dust bag which helps the user to protect the brushes as long as possible.
• It comes with a no-question-asked replacement or refund.

• It is not suitable for all kinds of paints.
• It is bit expensive.

Virtuoso Paint Brushes

Buyer’s Guide for best model brushes

Contents:

• Should I purchase faux hair or synthetic hair?
• Will long handle be good choice for me or short handles?
• Which size of paint brushes will be best for me?
• Does buying a brush set with guarantee means perfect purchase?

To help you further understand which brush set will be the right one for you, here are some common FAQs which you need take into consideration when buying a model brush set:

Should I purchase faux hair or synthetic hair?

Synthetic hair tends to get stiffer when wet (allowing precise outcome easily) and works best with acrylics, whereas with faux hair not only you can achieve fine strokes you can add a subtle softness to your work.

Will long handle be good choice for me or short handles?

The purpose of long and short handles is to create a desired distance from the painting surface. While long handles work best when you are working on a model/figurine, short handles are usually the standard size of a pencil or pen which feels more comfortable. Short handles are best for beginners while long handles provide much advantage allowing a beginner to turn into a professional with practice.

Which size of paint brushes will be best for me?

Even if you tend to work on somewhat similar subjects, having a wide range of options to work with will help you to improve craft. So, it will be best to go for a set which offers a wide range of sizes rather than few standard sizes.

Virtuoso Paint Brush Set

Does buying a brush set with guarantee means perfect purchase?

All the best model brushes set comes with some kind of guarantee, however to truly get the best out of your brushes, maintaining and cleaning is a must. Even though buying brush set with a guarantee acts as a safety net, make sure to buy durable and easy to clean brushes to maintain the brushes’ integrity for years to come.

There you have it; reviews of some of the best model brush sets and also a buying guide to help you choose the right one for you. It has been said that these manufacturers are looking for ways to further develop their designs yet as of they work perfectly. So by taking the things mentioned here into consideration, shopping for the right model brush set for your work will be an easy task.

1) Foreword
2) Introduction and terminology. houding, perception of reality, realism, illusionism and trompe l’oeil
3) Understanding Vermeer’s Perception of Reality; a Discussion of Characteristics
4) Brain and colour
5) Form as registered by the brain
6) Facial recognition, depth, movement, fine vs broad
7) Using this knowledge in studying and appreciating Vermeer
8) Workshop matters, Painters’ Supplies, Palette, The fijnschilder style versus the loose style, fourteen Qualities listed by Philips Angel
9) Naturalness, enticing the viewers
10) Delft artists influencing Vermeer
11) Vermeers Early, Middle, Late period. Camera Obscura
12) Vermeer’s World of Interiors: a Reality or a Construction
13) Landmark Vermeer literature (in print on paper form)
14) Digital Art History Studies and Presentations on Questions - on Perception of Reality in Vermeer Paintings
15) External CD-Rom, DVD, film material on Vermeer
16) Selected Bibliography

Updated June 9, 2016.Updated 15 February 2017.

3.3.2. Workshop matters
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.
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. Both the artists’ training and the high quality of the materials used and their proper application guaranteed the durability of the painting. Dutch painters worked almost exclusively for the open art market and paintings were bought both for pleasure and as an investment.[1]
After 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. As a result the wide array of production of the Dutch school of painting was quite sophisticated both in the material and artistic sense.
Before 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. For the painter there was just a limited range of available pigments for creating the whole range of oil paint colours. Raw pigment materials could be normally bought locally but in a few larger towns there were also specialist traders in painters’ supplies.
3.3.3. Painters’ Supplies
Delft painters normally shopped for materials at their local pharmacy / apothecary / grocery[2] shop which normally could supply the basic paint shop goods. By chance we get a glimpse of a sixteenth century Delft paint shop run by Jan Lucas, visited by the painter Maarten van Heemskerck (1498-1574).[3]
In the seventeenth century a stock of specialized supplies was available some 10 miles to the south, in Rotterdam, just a short canal barge ride away, in a grocery shop run by Crijn Hendricksz. Volmarijn (circa 1601-1645) who was active in Rotterdam from 1628 onwards. The inventory of his shop is fully known to us by chance as the property register of the Rotterdam orphanage board contains a detailed description. His particular shop actually combined a regular grocery full of household goods ranging from soap, dried prunes to cheeses with an exceptionally wide array of fine art material and fine art paintings.
Master Volmarijn was a successful entrepreneur across Holland, for he also ran a shop in Dordrecht and in 1643 another shop was opened in Leiden in which he sold “prepared and unprepared colours, panels, canvas, and paintings utensils of all kinds.” [4] Upon the death of Volmarijn the Rotterdam inventory was taken, citing 306 panels, 181 frames and many paintbrushes.
In Rotterdam, master Volmarijn was succeeded by Abraham Lubbertsz van Bubbesson, a tradesman who may well have been the specialized purveyor of high quality artists materials to Vermeer.[5]
Pigments, mainly of mineral origin were sold in either powder or in crystal form. Large batches of minerals had been pre-milled on the large grindstones of a specialized paint-windmill.[6] Small batches of raw material could be ground up in a mortar either in the pharmacy shop or in the painters’ workshop. Further pigment refining was carried out either by sieving and washing in liquids or by grinding on a [porphyry?] slab and a hard grinding stone, the pigment being mixed with oils on the slab, finally scraped off and then used on the palette or kept overnight in small pouches made of animal bladders. A stone slab and a paint grinding stone are implements actually found in the attic in the Vermeer House during the inventory of 1676.
The powdered pigment was mixed with either linseed oil (in order to obtain oil paint), or with clean water and gum Arabic (for watercolour paint). Because of the wide variety of natural ingredients their individual consistency, opacity and drying characteristics varied widely and these physical characteristics all had to be taken into account consciously when mixing different colours of paints on the palette and finally on the canvas or panel. In those days the wide variety of colours of standard consistency and mixable quality, which are now commercially available in tubes, simply did not exist.[7]
Although pigments were generally of high permanence and stability - as can be seen from studying seventeenth century paintings, some pigments derived from plants proved to be chemically unstable over time.
The support material for paintings came from two specialist shops for wood, linen etc.
Wooden panels were produced by joiners or cabinet-makers, who preferred using stocks of Dutch or Baltic oak. Some types of tropical woods reached to the Republic as crate material from Latin America, protecting the costly sugar loafs which were produced over there. A successful Delft picture frame maker was Anthonij van der Wiel (1620-1693). He was also active as an ebony merchant and his (ebony?) frames were considered to be high quality and thus sold as far as The Hague and Amsterdam. Anthonij van der Wiel became Johannes Vermeer's brother in law when he married Geertruy Vermeer (1620-1670). Anthony entered the Guild as konstverkoper (painting dealer) in 1657. His position in the Delft society was underscored when he became sergeant in the Delft militia.
Linen was the other ubiquitous support material for paintings. As there was no specially woven high-quality painter’s linen, one had to use general-purpose linen canvas, which always contained some knots and some uneven structure. In exceptional cases very thin and fine linen was available on the market.[8] The common material was sold rolled up by the yard for all kinds of uses in society, be it bed linen, table linen, wrapping material or linen for painters.
Art material shops sold this linen to painters either in the raw form or ready-mades, already stretched and attached to a frame with cords or nails, primed with layers of gesso. There was even a trade in long banners of canvas, pre-stretched and primed with gesso and afterwards cut to the desired lengths. This form of prepared canvas explains why some paintings do not show canvas stretch marks in all four directions.
Brushes with lengths from 20 to 50 cm. were also available ready-made by professional brush makers. Their tips consisted of the tail hairs of ermine, sable, weasel, skunk or pig. These hairs were tied and then fixed within in hollow flight feather from geese, swans or ducks, and these tubes were finally fixed either to high quality handles made of ivory, brazil wood, or ebony – or to low cost woods.[9] Brushes were cleaned in small tanks filled with oil. When this oil got dirty. Water was poured in, the liquids were shaken and the dirt sank to the bottom of the lower layer of water, which was later removed.
3.3.4. Palette
I have not been able to trace a mid-seventeenth-century discussion or visual explanation of the distribution of various paints on the palette. The archives in Alkmaar, North-Holland do however keep the manuscript ‘Notes on the art of painting’ - “Aantekeningen over Schilderkunst”, dating from 1700 and containing a fine visual explanation by the minor painter Simon Eikelenberg (1663-1738) .[10]
He sketches a palette with a particular distribution of dots of paint. Text lines on this manuscript, reading from the top are as follows. First I give my English translation, followed by the original text in Dutch, set in round (parentheses and italics) and finally my additional comments are added in straight [brackets].
“On the palette one puts the paint as follows –
(op't Pallet leijt men de veruw Aldus:)
- ox black (Osse swart) [made from charred ox bones?]
- lamp black (Lampswart) [made either from charred wood or bones or from soot collected in chimneys]
- coal black (Koolswart)
[from left to right the text continues:]
- Umber - Dicipili, brown, still browner, yet browner ; - (Omber); [this is a greenish brown earth which turned reddish brown by burning] (Dicipili ; bruind ; noch bruijnder ; noch bruijnder) [This group may contain brown coal, from the region of Cologne / Köln, a loose earth which was simply mixed with oil].
- brown ochre (Bruijnoker) [also named ‘bruin schijt’ or ‘schietgeel’, this fading yellow is an easily fading paint, made from the Rhamnus-berry and Reseda Luteola]
- Yellow ochre (Geeloker) - [either imported from Siena, Italy, or from England, Crete, Germany].
- white – (wit) [lead white was either made locally, or imported from England. Locally it was delivered in two forms: as a powder ready to use or as rolled up strips of very thin lead, called ‘schulpen’, the resulting paint called schulpwit. These rolls oxydized when seeped in urin while being kept in a warm place. The lead white could be mixed with cheaper fillers - powdered white marble or chalk.]
- vermillion red (fermiljoen) [also called cinnabar or sinober ]
- brown red (Bruijn root)
- blue lacker (Lake)
- Carmine / Lake (Carmozij) [made from a scale insect collected in America or Asia]
- Yet redder (Wat roder)
- Some browner (Wat bruijnder).
The only blue paint present on this palette is blue lacker ; the palette shows neither the expensive colour ultramarine, which is made from ground up lapis lazuli obtained in Afghanistan, nor azurite obtained from Hungary which was actually dark blue when lightly grounded and light blue when finely grounded. Smalt, also blue in colour was also missing.
This array listed above by Eikelenberg may well have been the standard studio set for the 17th century. It took the wizardry of a trained painter to turn this group of limited natural pigments, each with its own physical properties and chemical character, into the wide array of optical effects presented on the painter’s canvas or panel.
The process of painting consists of starting with either a sketch or an under paint and combining and juxtaposing colours in the painting, adding glazes and _____________
3.4. The fijnschilder style versus the loose style
The Leiden based school of fijnschilders (smooth-style fine-art painters) in which both Gerard Dou and his pupil Frans van Mieris excelled, successfully rendered the material world in the medium of oil paint, representing all possible surface and texture qualities, capturing the texture, sheen and other light properties not only of natural materials such as stone, ceramics and wood, but also of man-made metals (brass, silver, gold) and textile objects such as woolens, linens and silks.[11] Natural tones of human skin were also depicted well – including the effect of light entering the skin and bouncing internally several times before reappearing at the surface.
In Gerard Dou’s style of painting the ultra-fine individual brush strokes have been smoothed over to create a fused continuous layer of paint in which the brush strokes have disappeared before the human naked eye. When human hair or animal fur is depicted – the individual small brush strokes are so dense and manifold that their outward appearance is utterly convincing. This technical brilliance may create a sense of awe for the sheer perfection of the art of representation of natural phenomenon.
The opposite of the first is a style celebrating loose brushwork. This style is best shown by the works of the two artists Frans Hals (1581-1666) and Rembrandt van Rijn (1606-1669), the latter notably in his late works like the Jewish Bride (Rijksmuseum, Amsterdam). In this rougher painterly style the paint thickness or impasto may be appreciable and sometimes even the artistic handwriting of the artist, including brush incisions in the wet paint layers may be visible. This painterly manner emphasizes the manual, creative nature of the art of painting, leaving visible traces of how the painter progressed in time, slowly constructing the work of art. For the viewer, seeing these virtuoso effects may be exhilarating rather than daunting as could be the case with the products of fijnschilder paintings. Loosely painted works may even form an enticing invitation to take up the paint brush oneself and try to copy some spectacular effects.
The loose style has an added neurological bonus. The human brain is wired for pattern recognition and seeks constancy in perception.[12] As looking at loose style paintings involves an active perception and a creative mental activity within the viewer, the translation of rough patches into a meaningful perception becomes rewarding in itself. Ernst Gombrich calls this effect the “beholders’ share” – seeing pigment turn into what it represents.[13] When one becomes used to this translation and appreciates this manner, it almost blocks a return to valuing a more ‘simple’ purely representational smooth style.
Later on we shall see how Vermeer’s work may be positioned with regards to fine versus the loose brushwork discussed here.
In print, seventeenth century Dutch painters have been tacit on the nature and quality of their own work, and preciously little of their writing has come down to our time. In 1641 however, in his hometown of Leiden, the painter Phlips Angel, also known in literature as Philips Angel, delivered a speech, which appeared in print the next year, in 1642. His mission was to advocate the foundation of a local St Luke’s Guild, the already famous Leiden school of fijnschilders being still without a central organization up to that point.[14]
With regards to the two opposed manners – that of fine painting and loose painting he expressed as his private artistic opinion that for those painters who could not reach the exquisite level of fijnschilder excellence of Gerard Dou, adopting the alternative loose style was preferable.[15] He exhorts painters not to follow a master’s example but to take the guidance of nature, advocating painting in a style-neutral way:
“But [if] he manages to imitate life in such a way that people judge that it approaches real life without being able to detect in it the manner of the master who made it, such a spirit deserves praise and honor and shall be ranked above others.”[16]
On the subject of natural imitation he writes:
“Let us […] choose that which brings the most praise, seeking nature, which is so abundant in its diversity that if one imitates it naturally it will be impossible to say who made the work.”[17]
3.5. Fourteen Qualities listed by Philips Angel
Philips Angel’s treatise is quite useful as it gives both a contemporary art theory and paragraphs on art practice. He lists a good number of craftsmanship requirements for a fine art painter. According to Angel, the painter, should possess the following fourteen qualities in order to overcome the gravest professional errors:[18]
1) a healthy judgment of one’s personal design - for the sake of our art he should only borrow a style from another master if that particular style fits in with his own [recht oordeel – ten dienste van onse Konst].
2) a confident and steady drawing hand [seeckeren en ghewisse Teyken hant].
3) a fluent mind, able to combine and compose naturally [een vloeyende ende eyghentlijcke by een voeghende gheest].
4) the talent to imagine decorative riches and embellishments [aerdigh-verçierende Rijckelijckheydt] so that paintings may be coveted by the enthused eyes of the art lover [soo datse met een wensch-begheerte, het oogh der Lief-hebberen tot haer dinghen verrucken].
5) good design of light and shadow, arranged in groups at the right places – to give such magic power [wel schicken van dagen en schaduwen – gheven sulcken tooverachtige kracht].
6) good observation of actual natural phenomena - such as a fast moving wagon wheels or spinning wheels in which no single spokes can be seen. [Three full pages of text are devoted to this particular point].
7) a well-practiced understanding of perspective, also choosing correct horizon lines.
8) knowledge of histories from the bible and antiquity, noticing their correct physical setting by close reading of the original text in order to avoid sloppy carelessness [slordige nalaticheyt].
(The actual numbering of points is discontinued here by Angel, but the following major items are mentioned in his remaining text)
9) Knowledge of mathematics, especially in portraying the sight lines [radien des ghesichts].[19]
10) Thorough knowledge of anatomy including musculature and proportion in men, women and children.[20]
11) Seeking to imitate nature rather than the works of other masters (this actually covers point number 1).[21]
12) Combining colours in paint, especially that of skin, in a natural manner.[22]
13) Distinguishing between representing silk, satin, velvet, wool and linen fabrics and the effects of their sheen, being draped and folded.[23]
14) All of this requiring a lively brush, with neatness such as that of Gerard Dou, and if that is unattainable, with looseness. Painters should attempt to get a free, alive, sweet-flowing brush, rather than to get smothered in a stiff neat manner.[24]
After this final text Angel finishes off his arguments by citing the great honour reaped by painters from antiquity.
p332

The full Angel book has been published by Kaldenbach - jpg images in Dutch on the Web, see google.

Notes

[1] Michelangelo had his thoughts on the early Northern art market, Flemish art in his mind being mainly fit for woman, girls and nuns. Words by Michelangelo as reported by Francisco de Hollanda, see Alpers 1989: xxiii and 223.
[2] In Dutch: kruydenierij.
[3] Houbraken 1753, book 2: 33.
[4] Hale 1937: 56.
[5] Henny 1995: 48.
[6] A working windmill for grinding paint material is at Zaanse Schans open air museum, at Zaanstad / Zaandam, The Netherlands.
[7] Henny 1994: 43-44.
[8] Houbraken1753, book 2:37-38.
[9] Henny 1994: 44.
[10] Regionaal Archief Alkmaar, North Holland, acquisitions collection nrs. 390-394. For an article on the Simon Eikelenbergs palette - see _____________ by Margriet van Eikema Hommes in: Hartwig [_________title/year?] page 96.
Wetering, v.d. YEAR?: 132ff.
Also note Pey YEAR?.
[11] Hecht 1989: 76 discusses the influence of Van Mieris on Vermeer.
[12] Zeki 1999.
[13] Gaskell 2000:100.
[14] Angel 1642: 227-258.
[15] Angel 1642: 56.
[16] Angel, 1642: 53-16 ; english translation from Simiolus 24 (1996), 248.
[17] Angel, 1642: 54; english translation from Simiolus 24 (1996), 248.
[18] Sluyter in Franits 1997, note 29 citing Philip Angel Lof der Schilder-konst, Leiden 1642. I have consulted both the facsimile and the complete English translation is in Simiolus 24 (1996), 227-258.
[19] Angel 1642: 51.
[20] Angel 1642: 52.
[21] Angel 1642: 54.
[22] Angel 1642: 54.
[23] Angel 1642: 55.
[24] Angel 1642: 56.

1) Foreword
2) Introduction and terminology. houding, perception of reality, realism, illusionism and trompe l’oeil
3) Understanding Vermeer’s Perception of Reality; a Discussion of Characteristics
4) Brain and colour
5) Form as registered by the brain
6) Facial recognition, depth, movement, fine vs broad
7) Using this knowledge in studying and appreciating Vermeer
8) Workshop matters, Painters’ Supplies, Palette, The fijnschilder style versus the loose style, fourteen Qualities listed by Philips Angel
9) Naturalness, enticing the viewers
10) Delft artists influencing Vermeer
11) Vermeers Early, Middle, Late period. Camera Obscura
12) Vermeer’s World of Interiors: a Reality or a Construction
13) Landmark Vermeer literature (in print on paper form)
14) Digital Art History Studies and Presentations on Questions - on Perception of Reality in Vermeer Paintings
15) External CD-Rom, DVD, film material on Vermeer
16) Selected Bibliography

Contactinformation for Private Art Tours:

Menu of tours. See client testimonials.

Drs. Kees Kaldenbach , kalden@xs4all.nl

Haarlemmermeerstraat 83 hs

1058 JS Amsterdam

The Netherlands

telephone 020 - 669 8119

(from abroad NL +20 - 669 8119)

cell phone 06 - 2868 9775

(from abroad NL +6 - 2868 9775

Please note: All materials presented on this 2000+ item web site are original and therefore copyrighted. If passages are quoted (in essays, dissertations, books or other works, written or otherwise) then references must be made in the proper way. That is, the quoted passages must be attributed to the author, and the source of the material (i.e. this website) must be cited.

Written 2002-2003. Published online, July 17, 2011. Updated July 17, 2011.

Virtuoso Fine Paint Brushes

'I detected one misprint, but to torture you I will not tell you where.'
Winston Churchill to T.E. Lawrence, re Seven Pillars of Wisdom