Tim's Vermeer

2013

Action / Documentary / History

60
Rotten Tomatoes Critics - Certified Fresh 89%
Rotten Tomatoes Audience - Upright 86%
IMDb Rating 7.8 10 6926

Synopsis


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June 01, 2014 at 05:39 PM

Director

Cast

Martin Mull as Himself
Penn Jillette as Himself
Teller as Himself
720p.BLU 1080p.BLU
698.97 MB
1280*720
English
PG-13
29.970 fps
1hr 20 min
P/S 0 / 20
1.24 GB
1920*1080
English
PG-13
29.970 fps
1hr 20 min
P/S 0 / 5

Movie Reviews

Reviewed by sir-mauri 9 / 10

I'm so lazy...

I grade movies on my overall experience and reaction to a film. Those stories that educate me, intrigue my mind, spark the imagination, or make me want to immediately talk about the film leaving the theater-- always earn my highest marks. 'Tim's Vermeer' meets all of those traits and many more. It may have been a Dutch who inspired art through the help of a lens; but it was an American who broke the code on the 350 year-old mystery of how Vermeer did it. This spectacular documentary will leave you better off for seeing it and more appreciative of the genius behind the art--and the technology. My favorite kind of documentary where you laugh, you learn, you love, you stare fascinated at Tim's devotion to detail and you become fully invested in the complete and total mystery of Vermeer himself. Can't wait to share this with friends and family.

Reviewed by lasttimeisaw 7 / 10

an intriguing documentary attempts to reappraisal the fine line between an artist and an artisan

This USA comedy/magic duo Penn & Teller's passion project is an intriguing documentary attempts to reappraisal the fine line between an artist and an artisan, through Tim Jenison, a successful American inventor, engineer, but an amateur of painting, who pulls his back into precisely duplicating Dutch Golden Age luminary Johannes Vermeer's masterpiece THE MUSIC ROOM with the help of a simple optic gizmo which he believes Vermeer also secretly utilized, or at least in a similar way in his creation.

Vermeer was perversely cagey about his painting technique, there is no extant documents where one can sieve through to find any evidence, the only stratagem is from his oeuvres, mostly depicting domestic interior scenes, as the watchword of the film is "every paint is a document of its own". So Tom's hypothesis, which also bolstered by books such as British artist David Hockney's SECRET KNOWLEDGE and VERMEER'S CAMERA written by British architecture professor Philip Steadman, is bold and contentious, if he successes in producing a Vermeer-calibre painting through his experiment, does it debase Vermeer from a masterful artist who is celebrated for his divine treatment of light and capturing a beguiling verisimilitude of reality, to a mere inventor who laboriously but accurately duplicating real-life image onto the canvas thanks to an ingenious gadget borne out of a scientific discovery? Maybe, the art firmament itself has been longly misjudged as this venerable, superior godsend reflecting human's uttermost self-importance has been proverbially and obstinately holds a dismissive slant towards the progress of modern science, where subjectivity always trumps objectivity.

The film is conventionally arranged in a simple and linear narrative centers on Tim's painstaking process, spanning over 5 years, from the exhaustive preparation of the paraphernalia which should be exclusively limited within 17th century's knowledgeability, to the reproduce of the entire tableaux exactly like that in THE MUSIC ROOM, until his four-month-long endeavor to create his own Vermeer, certain longueur is inevitable, since his technique is plainly a one-trick-pony and extremely time-consuming (plus, none too many galvanizing vignettes are included), but Conrad Pope's soothing score always comes timely to diffuse the lurking fatigue.

When Tim finally finishes his work, circumscribed by film's inherent attribute, audience doesn't have the access to make the judgement by one's own eyes through the screen, so it is somewhat a bit disappointing, the film doesn't include the appraisal from a more canonical collective of voices apart from Steadman and Hockney, nevertheless, it surely tallies with the fact that Vermeer's output is not as prolific as others, by this method, he could maximally produce 3 pieces a year.

Due to the fact that any concrete proof is simply not available, this documentary cannot make Tim's viewpoint indisputable, although, in the eye of an art layman, it is remarkably persuasive, or maybe that is not the whole point at all, after all, it is Tim's strenuous perseverance, questioning inclination, scrutinising method and can-do attitude feels more affecting and encouraging in the end of the story.

Reviewed by joncj5 10 / 10

Brilliant!

I've watched this film many times because it is in itself a masterpiece. I'm a fan of Vermeer and this film attempts to divulge that it would be nearly impossible for any artist to create the works that Vermeer did without some kind of assistance.

One aspect is that Vermeer did not sketch this work beneath the paint; something always found within other works by other renowned artists. As pointed out, microscopic tests suggest that Vermeer painted without having drawn anything on the canvas of this particular work, "Music Lesson".

It is captivating to see how a modern day man can mix pigments to make paint as it was made in the 1600's, no less that he could re-create a masterpiece in modern times as exact as well. The attention to details by erecting a room that was so much like the original is simply amazing.

This is a must see film for anyone who enjoys art and especially those of the great masters. It does question how great they really were, given that a priceless artwork can indeed be reproduced in what can only be called, "brilliant". However given that we can "copy" such works, they are still appreciated as masterpieces no matter how they were created. Does age alone make such works stunning or valuable? Perhaps yes. Were the artists that great? Perhaps no. Either way, this film is an incredible view from the perspective of the only man who has challenged what we thought we knew. It is up to the observer to decide the truths.

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