b'"Vermeer"sStudio-Delft,1650(12"X24"X11.5")IhavebeencaptivatedbyVermeerspaintings.Hisabilitytocapturesunlight,hisuseofsoftcolorsandhismasterlytreatmentofofperspectiveallcombinetodrawtheviewerintohispaintings.AsIlookatseveralofhispaintings,itbecomecleartomethatmostofthesceneswerestagedandpaintedbyhiminthesamestudio.ThisboxismyvisionofwhathisDelftstudiomayhavelookedlikein1650.NotmuchisknownaboutVermeerandonly34worksattributedtohimareknowntoexisttoday.Itisalsotheorizedbyanumberofscholarsthatheusedamechanicalopticaldeviceknownasacameraobscure,adevicesimilartoapinholecamerawithaprojectorlens,toassisthimincreatingthecorrectperspectiveofthescene.DavidHockney,thecontemporaryartist,wroteinhisbook,SecretKnowledge,abouttheuseoftheseopticalaidsbyartistswhopaintedafter1420.PhilipSteadmaninhisbook,VermeersCamera,compileddetailedmathematicaltheoriesaboutVermeersuseofthesedevicesinhisstudio.Iusedbothbooksextensivelyinmyresearch.ItisalsointerestingtonotethatAntonievanLeeuwenhoek,themanwhoiscreditedwiththedevelopmentofthefirstmicroscope,wouldhavedevelopedsimilarlenstechnologythatwouldhavealsobeenusedinacameraobscure.HealsolivedinDelftatthesametimeVermeerdid.Theywerebothaccomplishedindividualsandlivedveryneareachother.Ithinkonecouldreasonablyassumethattheykneweachother.NobodyreallyknowswhatVermeersstudiomayhavereallylookedlikeorevenifheusedopticalaidsinhispaintings.HoweverIusedbitsandpiecesofwhatisknowntodaytocreatemyvisionofwhathisstudiomayhavelookedlike.Mostimportantly,Iwantedtotrytocapturethemoodoftheplacebyusingtheelementsofthesunlightstreamingthroughthewindows;thesmallleadedwindowpanes,thebeamedceilingandwoodmoldings,thecomplexpatternofthetilefloor,thetextureanddetailoftheorientalrugandthehumanityandwarmthofasleepingadog.'