Andrew Pulver 

Tim’s Vermeer – review

A tech tycoon sets out to paint as well as Vermeer in a perky, entertaining documentary, writes Andrew Pulver
  
  

Tim’s Vermeer
Expert corroboration ... David Hockney gives his verdict in Tim’s Vermeer Photograph: PR

Here is an entertaining and entirely watchable documentary that sets out to prove that any old brush-swinging amateur can paint as brilliantly as the 17th-century Dutch master. Orchestrated with ringmasters' verve by tricksters Penn and Teller (the former narrates, the latter directs), we are introduced to Tim Jenison, erstwhile computer pioneer, who made his pile developing software for graphics and video editing. Jenison's contention is that Vermeer's painting style is reproducible via a simple lens and angled mirror arrangement, and sets out to copy the complicated masterwork The Music Lesson, a painting coincidentally owned by HM the Queen, which allows Penn Jillette a bit of comic business outside Buckingham Palace.

Possessing the down-home what-if-we-did-this perkiness much favoured by high-achieving tech tycoons, Jenison ploughs his way through every conceivable activity – from turning chair-legs on a lathe to learning Dutch to a readable standard – in his self-appointed task of first, creating a replica of Vermeer's studio inside a Texan warehouse, and then painting the damn thing. The film-makers bring out fine art prof David Steadman and artist David Hockney to provide a little expert corroboration, but this film is supplied with its momentum not by art detective work, but by Jillette breezily assuring us that whatever Jenison is briefly observed doing "works", or "proves" the issue at hand.

With its determined attempt to reduce the value of artistry, this film actually takes a contemptuous stance towards its subject. But when Jenison finally sits down, brush in hand, his chirpy demeanour slowly transforms into grim-faced determination, as the scale of the task becomes clear. Vermeer may or may not have used optical aids; what becomes apparent is that just getting it all down on canvas requires attritional levels of endeavour. In the end, the film is a booster for technology's ability to help people overcome their limitations – but it tells us precious little why Vermeer's paintings are great in the first place.

 

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