Telluride Film Review: ‘Tim’s Vermeer’

Tim's Vermeer

Penn and Teller's uncanny crowdpleaser begs the question, is it still a masterpiece if an amateur could do it?

So entertaining that audiences hardly even realize how incendiary it is, “Tim’s Vermeer” stirs up a flurry of scandal in the hallowed realm of art history. Obsessive inventor Tim Jenison has a hunch that the only explanation for the photorealistic quality evident in the work of 17th-century Dutch painter Johannes Vermeer is that he “cheated,” using lenses or some other technological apparatus to achieve such remarkable detail. Jenison devises a five-year science experiment to test his theory, emerging with an uncanny crowdpleaser — the secret weapon in Sony Pictures Classics’ fall arsenal — that plays like the ultimate episode of “MythBusters.”

Generally speaking, Americans like their art easy to understand and difficult to make. Walk up to an all-white canvas or a minimalist watercolor, and the average spectator thinks, “How can this be art? Even I could paint that!” The tighter the technique, the more people seem to admire the craft, which is one reason Vermeer is held in such high esteem, having left behind nearly three dozen paintings that astound in their accuracy, despite having been rendered a century and a half before the daguerreotype (but not before the camera obscura).

So what if someone told you that anybody could paint as well as Vermeer? Is it still a masterpiece if an amateur could do it? Jenison has millions of ideas and just as many dollars, which affords him the luxury of indulging his pet theories. Here, for the benefit of magician friends Penn and Teller (the latter serves as director, while Penn Jillette supplies a fair amount of on-camera context), Jenison resolves to prove that one needn’t possess any God-given artistic talent to achieve what Vermeer did, if only he could pin down the combination of lenses, mirrors and other 17th-century tools the artist used to commit the scenes he composed in his studio to canvas.

As “The Da Vinci Code” proved a few years back, people love to uncover the secrets locked away in the masterworks of art history, and though “Tim’s Vermeer” does nothing to interpret Vermeer’s work, it sheds new light on the way he might have gone about it. Technically, the notion that Vermeer might have used a camera obscura as an optical aid has been around for years, backed up by mathematical calculations in Philip Steadman’s book “Vermeer’s Camera.” Jenison proposes an even simpler solution involving a simple hand mirror, enlisting both Steadman and “Secret Knowledge” author — and artist — David Hockney to test his theories as he goes.

But Teller’s inventor/subject goes one step further than the scholars did, attempting to reproduce Vermeer’s “The Music Lesson” himself — and this is where the film crosses over into a fascinating tale of obsession, as Jenison uses his primary expertise (as founder of NewTek, he revolutionized the fields of computer graphics and digital video) to re-create the artist’s studio in a San Antonio warehouse. Using rendering tools to calculate the exact dimensions of every object seen in the original painting, from stained-glass windows to the models’ costumes, Jenison then constructs everything by hand and positions it just right in the room — a 213-day job, short by comparison with the actual task of painting.

One can’t help but laugh as Jillette supplies a running commentary on his friend’s lunatic scheme, for which (if Penn is to be believed) he even learned to read Dutch. Getting a perfectly calculated musical assist from master orchestrator Conrad Pope, whose score conveys the sheer intensity of Jenison’s focus, Teller observes the dedicated inventor grinding his own lenses, mixing period-appropriate oil paints and sitting down for months on end to create what, for all intents and purposes, amounts to a hand-painted color photograph of the scene.

“Tim’s Vermeer” is no mere art doc, however, as it places more attention on Jenison’s experiment than the process he’s attempting to uncover or the painter who inspired this bizarre journey. And though Jenison’s findings raise terrific questions about the nature of art (is Vermeer’s achievement in any way diminished if he used mirrors?), the extent of his genius (surely composition accounts for a great deal, no?) and the interpretation of his paintings (how to account for his presumed self-portraits?), Teller leaves such issues for someone else to consider. The result is just about the most fun you can have while learning, partly because it strips away any tangents beyond the task at hand, offering a lean, 80-minute account of how this crazy guy erected his own Everest and then proceeded to climb it.

Telluride Film Review: 'Tim's Vermeer'

Reviewed at Telluride Film Festival, Aug. 30, 2013. (Also in Toronto Film Festival — TIFF Docs; New York Film Festival.) Running time: 80 MIN.

Production

(Documentary) A Sony Pictures Classics release presented in association with High Delft Pictures of a Penn & Teller production. Produced by Penn Jillette, Farley Ziegler. Executive producers, Peter Adam Golden, Glenn S. Alai, Tim Jenison, Teller.

Crew

Directed by Teller. Camera (color, HD/video), Shane F. Kelly; editor, Patrick Sheffield; music, Conrad Pope; re-recording mixer, Larry Blake; associate producer, Natalie Jenison.

With

Tim Jenison, Penn Jillette, Martin Mull, Philip Steadman, David Hockney, Colin Blakemore. (English, Dutch dialogue)

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  1. Erika says:

    Vermeer is definitely a mystery of all time. A new film in Exhibition on Screen series Vermeer & Music: The Art of Love and Leisure which is going to be out in cinemas 10 of October worldwide gives a chance to see Vermeer’s exhibition on a big screen in high definition and explore remarkable works of the artist, don’t miss out!

  2. Jane Jelley says:

    I have also been doing experiments to see how Vermeer might have used a camera obscura which I have recently published in the journal ART AND PERCEPTION, and which is available on my website http://www.printedlight.co.uk. Judge for yourself whether a rudimentary tracing and transfer process might be partly responsible for the effects of light and variable focus in Vermeer’s pictures, rather than the use of a mirror.

    Jane Jelley Oxford UK

  3. Grammar Christian says:

    Does it really beg the question? Maybe it just ASKS the question.

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