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Master copying is a fabulous way to learn painting techniques. It’s like getting a direct tutorial from the Old Masters themselves. As Master Copyists, we get the chance to spend countless hours with these original works – and to try to re-create them to the best of our abilities. However, we can’t get very close to the paintings (museum rules: not closer than a few feet). Moreover, many of Vermeer’s paintings are TINY – including the ones that I’m copying at the museum. We also can’t see “below the surface” to examine the layering methods he used to build up his paintings. 

That’s where direct observation is complemented by the literature from art history and science. As I hinted in my last blog, Vermeer’s paintings at the National Gallery of Art offer a unique opportunity to combine art history, science, and the practice of master copying to delve deeper into his painting processes. In other words, it’s a chance to totally geek out with Vermeer!

In this blog, I’ll document some of the many supplemental and absolutely FASCINATING reference sources that I’ll be drawing from during the course of master copying of NGA’s collection of Vermeer paintings. In subsequent blogs, I’ll detail how I use these resources for each step in the painting process. In addition to direct observation, two types of reference sources will be used

• Art Historical Sources. Although there are no direct notes or records of Vermeer’s painting techniques, many researchers have documented the practices of Dutch painters in the 17^th Amazingly, there is a treasure trove of information on Vermeer’s painting techniques, works, and more, in The Essential Vermeer website maintained for decades by Jonathan Janson, who also has an incredible book on the topic that you can purchase through the website: Looking Over Vermeer’s Shoulder: Seventeenth-Century Painting Techniques, Concepts, and Studio Practices with Particular Focus on the Work of Johannes Vermeer. I *highly* recommend both the website and the book – they are treasures for all who love Vermeer and his works! See link below.
• Science! When the museum closed during the pandemic (2020-22), researchers at NGA seized the opportunity to delve into intense scientific study of NGA’s collection of Vermeer’s paintings. This research used non-invasive methods (magnified stereomicroscope imaging, reflectance imaging spectroscopy, three-dimensional digital microscopy, chemical imaging spectroscopy, X-ray fluorescence scanning) as well as micro-imaging and analysis of paint samples. This research is summarized in several articles in the Journal of Historians of Netherlandish Art, Volume 14.2 (Summer 2022). Researchers at Mauritshuis, the Rijksmuseum, the National Gallery in the UK, and elsewhere have carried out similar analsyis of other works by Vermeer. See the list of sources and helpful links at the end of this blog, along with other works that will be referenced as I proceed with my master copies of Vermeer’s works at NGA. As I discover new sources, I will continue to update the bibliography in this blog.

The matrix below summarizes how some of these additional resources can be useful to understanding Vermeer’s techniques and creating a master copy (yes, I’m totally geeking out and loving it).

For example, false color infrared reflected imaging techniques allow us to see a “glimpse” of what Vermeer’s underpainting layers might have looked like for A Lady Writing (see image below). Recent scientific research suggests that Vermeer was much “looser” in his brushstrokes below the surface than on the final layer (Gifford et. al. (Summer 2022), Van Loon et. al., (2019). He also built up his lights and shadows quite distinctly in these under-layers, and employed fascinating techniques for gradually modeling the edges between forms. Stay tuned for subsequent blogs with more on those “clues” to Vermeer’s painting techniques and how I’ll be using them in my master copies at NGA!

Two images of Vermeer’s painting A Lady Writing.  Left-hand side is the high-resolution image of his final work. Right-hand side shows the False Color Infrared-Reflected Image (FC-IRR), which reveals the relatively loose nature of his underpainting layers, which contrasts with the highly-refined final layers.

How is all this useful? Drawing on art historic resources and scientific research to supplement direct observation in the process of master copying allows for a deep exploration of Vermeer’s painting processes to attempt to answer such questions as:

• What are the main phases of Vermeer’s painting process?
• How did he build up each layer?
• How did he use these layering techniques to:
  • Develop the illusion of three-dimensional forms on a two-dimensional surface (form sense);
  • Portray the interplay of light and shadow across the forms;
  • Impart such a delicate softness in his edges and the contours around the forms; and
  • Convey the overall sense of luminescent serenity that uniquely characterizes his paintings.

Next Steps & Upcoming Blogs. In coming blogs, I will expand on the many ways I use these resources in subsequent blogs for each stage of the painting process (ground, preliminary sketch, underpainting layers, final painting layers). I’ll post progress photos on each step of the process, drawing on direct observation, master copying, and the wealth of science & art history resources on Vermeer’s methods in the coming weeks & months.  Follow along to geek out with me!

Main Sources on Vermeer’s Methods (will be cited in upcoming blogs on each step of master copying process):

• Costaras, Nicolas. (1998). “A Study of the Materials and Techniques of Johannes Vermeer.” In Report and Studies in the History of Art, Vol. 55 (1998). National Gallery of Art.
• Elliott, Virgil (2019). Traditional Oil Painting: Advanced Techniques and Concepts from the Renaissance to the Present. Echo Point Books & Media.
• Gifford, E. Melanie, Dina Anchin, Alexandra Libby, Marjorie E. Wieseman, Kathryn A. Dooley, Lisha Deming Glinsman, and John K. Delaney (Summer 2022). “First Steps in Vermeer’s Creative Process: New Findings from the National Gallery of Art.” Journal of Historians of Netherlandish Art. 14.2. Link here
• Gifford, E. Melanie. "Painting Light: Recent Observation on Vermeer's Technique." In Vermeer Studies, Edited by Ivan Gaskell and Michiel Jonker. National Gallery of Art, Washington DC. 
• Gifford, E. Melanie, Kathryn A. Dooley, and John K. Delaney (2022). “Methodology & Resources: New Findings from the National Gallery of Art.” Journal of Historians of Netherlandish Art. Volume 14.2. Link here
• Groen, Karin M., Inez D van Der Werf, Klaas Jan Van Den Berg, and Jaap J. Boon. “Scientific Examination of Vermeer’s Girl with a Pearl Earring.” In Vermeer Studies, Edited by Ivan Gaskell and Michiel Jonker. National Gallery of Art, Washington DC. 
• Janson, Jonathan. Essential Vermeer Link here
• Janson, Jonathan (2020). Looking Over Vermeer’s Shoulder: Seventeenth-Century Painting Techniques, Concepts, and Studio Practices with Particular Focus on the Work of Johannes Vermeer. Second Edition.
• Kühn, Hermann (1968). A Study of the Pigments and the Grounds Used by Jan Vermeer and Technical Appendix. In Report and Studies in the History of Art , 1968, Vol. 2 (1968). National Gallery of Art.
• Libby, Alexandra and Arthur K. Wheelock Jr., “Johannes Vermeer: A Lady Writing; c. 1665,” Dutch Paintings of the Seventeenth Century, NGA Online Editions. Link here
• Libby, Alexandra, E. Melanie Gifford, Dina Anchin, Marjorie E. Wieseman, Kathryn A. Dooley, Lisha Deming Glinsman, and John K. Delaney (Summer 2022). Experimentation and Innovation in Vermeer’s Girl with the Red Hat: New Findings from the National Gallery of Art. Journal of Historians of Netherlandish Art. 14.2. Link here
• National Gallery (UK). “Vermeer & Technique.” Link here
• Stols-Witlox, Maartje (2015). “'By no means a trivial matter'. The influence of the colour of ground layers on artists' working methods and on the appearance of oil paintings, according to historical recipes from North West Europe, c. 1550-1900.” Oud Holland, Vol. 128, No. 4.
• Van Loon, Annelies, et. al. (2019). “Beauty is Skin Deep: The Skin Tones of Vermeer’s Girl with a Pearl Earring.” Heritage Science. Volume 7:102. Link here
• Vandivere, Abbie, Annelies van Loon, Kathryn A. Dooley, Ralph Haswell, Robert G Erdmann, Emilien Leonhardt, and John K. Delaney (September 2019). “Revealing the painterly technique beneath the surface of Vermeer’s Girl with a Pearl Earring using macro- and microscale imaging.” Heritage Science. Link here
• Wieseman, Marjorie E., Alexandra Libby, E. Melanie Gifford, Dina Anchin (Summer 2022). “Vermeer’s Studio and the Girl with a Flute: New Findings from the National Gallery of Art.” Journal of Historians of Netherlandish Art. 14.2. Link here

Another item on my bucket list!!! As many of you know, I’ve been working on a master copy of Titian’s Venus with a Mirror at the National Gallery of Art for, like, the past … 4 years! I’m making steady progress but was interrupted by the pandemic, and now again for the next few months due to renovations at NGA. 

Well, as they say, when one door closes, others open! In this case, the new door has opened in Gallery 50, which now houses NGA’s collection of paintings by Vermeer! In the past, copyists weren’t allowed to do master copies of Vermeer paintings because they were housed in a tiny gallery which didn’t have enough space for us to set up and store our easels. However, … breaking news! When NGA’s collection of Vermeer paintings returned from the biggie exhibit at the Rijksmuseum in Amsterdam, they put them in a larger gallery. As such, for the first time, we can do master copies of Vermeer paintings at NGA! 

This really feels like divine intervention as I’ve been wanting to do master copies of Vermeer’s paintings like FO-EVAH. I had just returned from seeing the near-complete collection of Vermeer’s works at the Rijksmuseum in Amsterdam when this bucket-list opportunity arose! YAYESSSSSSS!!!!!!

Me with my entry ticket for the near-comprehensive exhibition
of Vermeer’s paintings at the Rijksmuseum in Amsterdam, June 2023

As such, if all goes well, over the next few months, I’ll be doing two master copies of NGA’s Vermeer paintings:

1. Woman Holding a Balance. This painting is among those Vermeer painted in his middle years and features his characteristic light from an upper left window, with a woman deep in a moment of serene contemplation. She is holding a scale in perfect equilibrium and stands in front of a painting of the Last Judgement, suggesting she is weighing decisions of life and faith. You can find more information about, and high-resolution images of this painting, at NGA’s website, see link here.
2. A Lady Writing. In parallel, I’ll also be practicing a study copy of Vermeer’s
   A Lady Writing with my close friend Lillian at her house in Maryland. She’s 94 and a fierce painter but doesn’t have the chance to come do master copies in person at NGA. As such, we enjoy doing study copies together in parallel to my copies at the museum (as we have been doing with Titian). I may also do a copy of A Lady Writing in person at NGA in the future. It’s a beautiful painting, again with the characteristic light coming from the upper left, this time illuminating a woman writing with a feather pen, glancing up to engage the viewer. You can find more information about, and high-resolution images of this painting, at NGA’s website, see link here.

Two paintings by Johannes Vermeer: Woman Holding a Balance, circa 1664; and A Lady Writing, circa 1665. The National Gallery of Art, Gallery 50.

Unique Opportunity: Art History x Science x Master Copying!  Master copying Vermeer’s paintings at the National Gallery of Art offers a unique opportunity to combine art history, science, and the practice of master copying to delve deeper into Vermeer’s painting processes. This is because Vermeer’s works have been the subject of deep study by artists, art historians, and scientists - including recent imaging and analysis by NGA researchers during the pandemic! See my next blog for more on this topic and stay tuned for a full blog series on my research and master copying process at the National Gallery of Art!

For More Information on the Copyist Program at NGA:

• See my earlier blog on master copying at NGA here: Painting in the Museum!
• See the official link for the NGA Copyist Program here

My painting set up for master copying in Gallery 50 at the National Gallery of Art (preliminary sketch of Vermeer's Woman Holding a Balance)

Bucket List!!!  I’ve long wanted to join the Copyist Program at the Smithsonian’s National Gallery of Art.  As such, when I switched to studying art full time in April, I jumped on the chance to apply for the program. My daughter just finished her college applications, and the Copyist Program application seemed somewhat similar (without the SATs!):  a two-page essay, 4-5 letters of recommendation, a background security check, submission of two original paintings, and an interview.  In all, the process took about 4-5 months, but I finally got certified as a Copyist!  Wahoo!  Many of you have asked about the copyist program, so I’ll answer some of the main questions in this blog, with future blogs reporting on the process with progress photos.

Why do Master Copies?  This question comes up all the time.  Here are some of the many reasons for painting Master Copies:

1. For learning and curiosity.  Doing master copy paintings is a FABULOUS way to learn.  It’s like getting a direct tutorial from the Old Masters themselves. Artists have been  learning from master copying for centuries, by serving as apprentices in artist workshops or copying from paintings hanging in museums such as the Louvre.  Even the masters themselves did master copies (Titian, Tintoretto, Rubens, Delacroix, Manet, Morisot, and others). So often, we stare at a painting and wonder “How did they do that?!” Doing a master copy allows for a deep dive into the artist’s process and techniques with this intimate firsthand view of the original work.  It's much different from a photo because you can see subtleties, layers, and surface texture directly.
2. To slow down and extend the gaze. With so many images flickering past our eyes each day on social media, it’s almost meditational to just slow down, gaze at a piece of art for extended periods, discover new aspects not seen before, and develop a deeper understanding and appreciation for a masterpiece.  It also feels Zen to slow down and just BE.  To relish the feeling of being one with the art with no sense of time other than the humanity and history gazing back at you, while enjoying the shuffle of visitors coming and going. It’s a feeling like no other. Peaceful, artistic exhilaration.
3. For joy, love, and passion. Have you ever walked past a painting and it took your breath away? It’s a common experience at the National Gallery of Art and museums around the world.  Most artists do master copies as another way to experience their passion for art.

How does the Copyist Program Work?  The program is managed by the Registrar's Office of the NGA.  After getting accepted, you get to choose your top three paintings and indicate which day of the week you want to paint.  Only one copyist is allowed in each gallery at a time, so you get assigned your day and painting depending on availability.  Some of galleries are off limits: for example you can’t do paintings in smaller galleries for obvious space reasons.  The program has a lot of rules about the materials we can use and size of panel/canvas (to avoid forgery… AS IF! LOL!).  On the first day, you have to go through security to pick up your permit.  The panel/canvas is then stamped with an official NGA copy number. The security guards also verify the permit when you set up in the gallery each day.  The museum provides the easel, drop cloth, and stool.  And then you get to paint from 10-4 on your assigned day!  The time flies!!!!  At the end of each day, wet paintings are stored in special slots in the copyist locker room. Our paintings must remain in the museum until they go through a security check when they’re complete and dry for obvious reasons: people can’t just walk out of the museum carrying a painting!  When you finish one copy, you then pick your next three choices for the next round…

Have you met other copyists? I think there are about 30-35 copyists at NGA. I had talked with Tom Semmes, another copyist, extensively about the program before joining.  I understand that there are 6-7 copyists on Fridays, now including me! I was thrilled to meet Bruce Campbell and Alice Kale, two other “Friday copyists,” who have been doing the program for many years (decades!).  Alice also connected me to the Master Art Copyists Association, which organizes group shows and other events.  They have a great website with images of the various copyists done by each artist. See link below.

What do you do with the Master Copies when they’re done? Some copyists hold group shows with their works.  Some sell them, and some even do commissions (whereby the client selects a favorite painting from the museum for copying).  Mostly, the artist keeps the painting as a memory of a wonderful experience of learning in the National Gallery of Art. 

Isn’t it hard to paint with tourists watching you?  Actually, I love interacting with the visitors!  One of the goals of the Copyist Program is to promote education, and the visitors usually have great questions about the process, the artwork, and so forth. It’s fun to talk with people of all ages from all around the world.  I guess it helps that I speak many languages as the tourists are always happily surprised when I answer in French, Portuguese, or Spanish. Also, for some strange reason, I’ve found that I’m laser-focused when painting in the museum even with the people coming and going.  I guess it may be similar to a writer working on a novel in a café.  Oddly, there are less distractions in the museum than at home! 

Can we come watch you paint?  YES please!  Feel free to come to the NGA to see me in action as I work on my first master copy:  Titian’s Venus with a Mirror.  I’ll be in Gallery 23 every Friday from 10ish – 4 (except November 22 or federal holidays). Come by and say hi!!!!

Where can I find more information about NGA’s copyist program and master copying more generally?

• See the official link here:  National Gallery of Art Copyist Program
• See this link to see examples of master copies done by member artists for the association of master copyists at NGA: masterartcopyists.com
• Here are some links to various articles about mastery copying: (1) “How Artists are Copying Masterpieces at World-Renowned Museums” by Casey Lesser (link); (2) “Copies and Forgeries: What Difference Does it Make?” by Leo Segedin (link)
• Check out this youtube video by Alvin Mark about his experience doing a master copy of a Caravaggio at Ireland’s National Gallery of art (video link)

Kathy Lindert in Gallery 23 at NGA - Day 1 of Painting Titian's Venus with a Mirror