2th passage
Did some of the great masters of painting,
then,
trace
their images
using a camera obscura?
Some art historians
are now looking
for clues of artists' use
of such devices.
One of the artists
whose paintings are being analyzed
from this point of view
is the great Dutch master,
Jan Vermeer,
who lived from 1632 to 1675
during the flowering of art and science
in the Netherlands,
including the science of optics.
Vermeer produced
only about 30 known paintings,
including his famous The Art of Painting.
The room
shown in it
closely resembles
the room
in other Vermeer paintings,
with lighting coming
from a window on the left,
the same roof beams,
and similar floor tiles,
suggesting
that the room was fitted
with a camera obscura
on the side in the foreground.
The map
hung on the opposite wall
was a real map
in Vermeer's possession,
repoduced
in such faithful detail
that some kind of tracery is suspected.
When one of Vermeer's paintings
was X-rayed,
it did not have
any preliminary sketches
on the canvas
beneath the paint,
but rather
the complete image
drawn
in black and white
without any rial sketchs.
Vermeer
did not have
any students,
did not keep
any records,
and did not encourage
anyone
to visit his studio,
facts
that can be interpreted
as protecting his secret use
of camera obscura.
2th passage
Did
some of the great masters of painting,
then,
trace
their images
using a camera obscura?
Some art historians
are now looking
for clues of artists' use
of such devices.
One of the artists
whose paintings are being anlyzed
from this point of view
is the great Dutch master, Jan Vermeer,
who lived from 1632 to 1675 during the flowering of art and science
in the Netherlands,
including the science of optics.
Vermeer
produced
only about 30 known paintings,
including his famous The Art of Painting.
The room
shown
in it closely resembles the room
in other Vermeer paintings,
with lighting coming
fomr a window on the left,
the same roof beams,
and similar floor tiles,
suggesting
that the room was fitted
with a camera obscura
on the side in the foreground.
The map
hung on the opposite wall
was a real map in Vermeer's possession,
repoduced
in such faithful detail
that some kind of tracery is suspected.
When one of Vermeer's paintings
was X-rayed,
it
did not have
any preliminary sketches
on the canvas
beneath the paint,
but rather
the complete image
drawn
in black and white
without any rial sketchs.
Vermeer
did not have
any students,
did not keep
any records,
and did not encourage
anyone
to visit his studio,
facts
that can be interpreted
as protecting his secret use
of camera obscura.
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