Painting [re-creates reality] by means of color on a two-dimensional surface.
The so-called visual arts (painting, sculpture, architecture) produce concrete, perceptually available entities and make them convey an abstract, conceptual meaning.
The visual arts do not deal with the sensory field of awareness as such, but with the sensory field as perceived by a conceptual consciousness.
It is a common experience to observe that a particular painting—for example, a still life of apples—makes its subject “more real than it is in reality.” The apples seem brighter and firmer, they seem to possess an almost self-assertive character, a kind of heightened reality which neither their real-life models nor any color photograph can match. Yet if one examines them closely, one sees that no real-life apple ever looked like that. What is it, then, that the artist has done? He has created a visual abstraction.
He has performed the process of concept-formation—of isolating and integrating—but in exclusively visual terms. He has isolated the essential, distinguishing characteristics of apples, and integrated them into a single visual unit. He has brought the conceptual method of functioning to the operations of a single sense organ, the organ of sight.
The closer an artist comes to a conceptual method of functioning visually, the greater his work. The greatest of all artists, Vermeer, devoted his paintings to a single theme: light itself. The guiding principle of his compositions is: the contextual nature of our perception of light (and of color). The physical objects in a Vermeer canvas are chosen and placed in such a way that their combined interrelationships feature, lead to and make possible the painting’s brightest patches of light, sometimes blindingly bright, in a manner which no one has been able to render before or since.
(Compare the radiant austerity of Vermeer’s work to the silliness of the dots-and-dashes Impressionists who allegedly intended to paint pure light. He raised perception to the conceptual level; they attempted to disintegrate perception into sense data.)
One might wish (and I do) that Vermeer had chosen better subjects to express his theme, but to him, apparently, the subjects were only the means to his end. What his style projects is a concretized image of an immense, nonvisual abstraction: the psycho-epistemology of a rational mind. It projects clarity, discipline, confidence, purpose, power—a universe open to man. When one feels, looking at a Vermeer painting: “This is my view of life,” the feeling involves much more than mere visual perception.