VIEW IN MY ROOM
Original copy of Vermeer's The Girl with the Pearl Earring - Sold Painting
United Kingdom
Painting, Oil on Wood
Size: 18 W x 20 H x 1 D in
Ships in a Box
About The Artwork
The Girl with the Wonky Eyeball Johannes Vermeer was a master of light but his anatomy could sometimes stretch a point. Consider the sitter’s right eye in this famous painting. You’ll notice the white of the eye - the sclera - abuts the dark background. Now I’m not saying that’s impossible but it is, shall we say, unusual. Not many portrait eyeballs touch their backgrounds, well, not pre-Picasso anyway. If you modelled the head in clay you’d have to fudge it in this area. Not that it matters. The painting is sublimely beautiful and transcends any anomalies. And I’m sure I’m not the first to observe this. There’s probably a whole literature on the white of the girl’s eye. Wonky is rather too disparaging. In truth, I only noticed it when I came to paint this copy of The Girl with the Pearl Earring. It proves to me, yet again, the only lesson I ever learn from copying masters such as Rembrandt, Van Dyck, Vermeer, Corot and others, is how supremely out of reach they are. I couldn’t fake them if I tried. I can only copy and admire. NB: Though described on this site as 'oil on wood', this work is actually painted in oils on a gessoed panel. The panel is made of hardboard, known in the US as Masonite.
Details & Dimensions
Painting:Oil on Wood
Original:One-of-a-kind Artwork
Size:18 W x 20 H x 1 D in
Frame:Black
Ready to Hang:Not applicable
Packaging:Ships in a Box
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United Kingdom.
Customs:Shipments from United Kingdom may experience delays due to country's regulations for exporting valuable artworks.
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United Kingdom
I paint industrial architecture, townscapes, landscapes, portraits and still life. Many pictures are based on London buildings, some of which - most of which come to think of it - have since been demolished, though not as a direct result of depiction. My interest in industrial architecture stems from the fact that I used to paint outdoors, in front of the scene itself. One of the few places you could do this without being disturbed was on derelict industrial wasteland - brown field sites as they're now called. If you paint in public places passers-by constantly interrupt. They look over your shoulder at what you're doing and say things like: 'My Nigel draws....'
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