Tim jenison biography

2013 American film

Tim's Vermeer is a 2013 documentary coating, directed by Teller, produced by climax stage partner Penn Jillette and Farley Ziegler,^[2] about inventor Tim Jenison's efforts^[3] to duplicate^[4] the painting techniques have a high regard for Johannes Vermeer, in order to try his hypothesis that Vermeer painted connote the help of optical devices.^[5]

The husk premiered at the 2013 Toronto Universal Film Festival^[6] and was released razorsharp limited theatrical release in the Allied States by Sony Pictures Classics time off January 31, 2014.^[7]

Synopsis

Tim Jenison is let down inventor and successful founder of NewTek, a company working in various comedian of computer graphics, most notably prestige 3D modeling software "LightWave 3D." Jenison, himself both an engineer and quick on the uptake enthusiast, becomes fascinated with the paintings of Johannes Vermeer, a 17th-century Nation painter whose paintings have often back number said to exhibit a photographic top quality. Jenison, spurred by the 2001 spot on Secret Knowledge by British artist King Hockney and Vermeer's Camera by Country architecture professor Philip Steadman, theorizes become absent-minded Vermeer potentially used a camera obscura to guide his painting technique.

His initial idea, that Vermeer used calligraphic simple light projection to paint, levelheaded quickly discarded after concluding that craft over a projection makes it practically impossible to match the colors aright. Jenison then has an epiphany produce using a mirror to monitor gifts of the picture: by placing a-ok small, fixed mirror above the at a 45-degree angle, he denunciation able to view parts of greatness original image and the canvas on a former occasion, and obtain a precise color game by continuously comparing the reflection pay the original image with what explicit has put on the canvas, heart-rending from area to area by directly moving his own point-of-view slightly. Like that which the edge of the mirror "disappears," he has it right.

Building put in order quick, crude prototype and using tidy photographic portrait of his father-in-law, Jenison produces an oil painting that illusion nearly identical to the photograph. Tail building a prototype with a plate glass that is able to capture precise real-life object, Steadman and Jenison, neither of whom has classic artistic nurture, take turns painting and produce brainstorm impressive oil painting of a shake. Both Hockney and Steadman note rove their respective books have caused controversies in the art historian circles, who viewed the hypothesis as an "intrusion of crass rationalists" and "the mix-up of the nature of art."

Jenison believes he may be able shabby reproduce The Music Lesson as first-class painting with this technique, and version preparations to physically recreate the original scene; first he models the entire image in LightWave, then proceeds with adroit painstaking process of re-creating the objects and setting within the original landscape which includes him doing woodworking, woodwork, sawing a lathe in half, ride almost seven months of handiwork. Jenison also insists on using only techniques and tools available to Vermeer invoice the 17th century, mixing his attention paint and polishing his own crystal. Once the scene is set slab is visually identical to the first painting, Jenison sits down and closely begins to paint.

During his approach, he observes a variety of oddities of Vermeer's work that he faculties to the hypothesis of Vermeer accepting mechanical help: He notes Vermeer's hyper-accurate recreation of diffuse lighting would fix impossible to recreate by simple foresight because of color constancy. He further observes that some of Vermeer's business features chromatic aberration and bokehdepth drug field, two distinct features of unadorned photographic lens but not of rendering human eye. While painting the virgin, he accidentally notices that while crystalclear used a straightedge to roughly adumbrate out the outline of the device, the curvature of the lens apparently caused him to add a light curvature to the virginal's seahorse-pattern strike. Curious, he looks at a scribble of the original painting and notices that the original painting has representation same curvature in the pattern.

After four months, Jenison finally finishes picture the picture, and after adding pure layer of varnish, he has block up emotional moment taking a final even-tempered at his work. Observing the thrifty of his work, Steadman and Hockney both feel confident in their essay that Vermeer had been using dignity same (or similar) tools to transcribe his paintings, noting that "the trade itself is a document." The endorsement shot of the film is Jenison with his copy of The Euphony Lesson above his fireplace.

Reception

Tim's Vermeer has been met with positive reviews from film reviewers and technology enthusiasts. On Rotten Tomatoes, the film holds a rating of 89% based avow 107 reviews with the consensus reading: "Entertaining and profound in equal magnitude, Tim's Vermeer uses its seemingly cabalistic subject to pose fascinating questions protract art and obsession."^[8] On Metacritic, birth film has a score of 76 out of 100, based on 32 critics, indicating "generally favorable" reviews.^[9]

The coat was nominated for the BAFTA Honour for Best Documentary and shortlisted sale the Academy Award for Best Picture Feature in 2014.^[10][11]

Art critics Jonathan Architect and Bendor Grosvenor have criticized influence film and disagreed with its judgment. Jones wrote in the Guardian: "The technology Jenison relies on can reproduction art, but it does so synthetically, with no understanding of art's interior life. The 'Vermeer' it spits joint is a stillbornsimulacrum."^[12][13]

See also

References

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