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The fundamental difference between the two concepts is that abstraction seeks to extract an underlying "truth" of reality on a general level, such that it can be true of many cases, while idealization involves a premise, which can skew reality to a predetermined result making it potentially misleading.In Vermeer's paintings shapes are abstracted, on a few occasions to the point of becoming unrecognizable.
In daily life most visual information is redundant.
In the case of photographic images it has been calculated that this redundancy may be as high as 90%.
Moreover, history painters had long simplified modeling, form and texture in order to create more universal visuals, and in almost every painting and drawing manual of the time painters were warned against getting lost in distracting detail.
However, the true broadness in Vermeer's rendering is adequately appreciable only when his paintings are compared to analogous works of his contemporaries.
Just as the brain searches for constancies and essentials, so does the artist.
In fact, a growing number of perceptual scientists hold that aesthetics are neurobiologically based, and that the artistic process shares vital similarities with physiological processes.However, abstraction, which we inevitably associate with twentieth-century abstract painting, has no exact correspondence in seventeenth-century art discussion.The closest concept is that of idealization, by which classically-oriented painters sought to divest the world of imperfections and transmit fundamental religious and ethical truths that were considered the only worthy objectives of the art of painting.The limp contours of real satin, which remind the viewer of the fragility of luxury, are "ironed out" into crisp, angular folds with sharp chiaroscural contrasts that can be more easily assimilated by the visual system.The dark blue gown of , whose inner creases and folds are barely indicated, is transmuted into a pure, bell-like shape which is understood only through its two graceful external contours.Volumes are reduced to their simplest geometric components. For example, the block-like gown of the seated mistress of has been transformed into nothing less than a geometrical fortress, which may have entailed considerable manipulation given that such carpets were probably not stiff enough to produce such simple, structural folds by themselves.Props and figures are often set perpendicular or at 45 degrees to the picture plane.This glossary contains a number of recurrent terms found on the present site which may not be clear to all readers, especially when employed within the context of an art discussion.Some of these terms, signaled by an icon of the Vermeer's monogram and signature, are also discussed as they relate to specifically Vermeer's art.Neuroaesthetics is a term that has been coined to refer to the project of studying art using the methods of neuroscience.The first academy of art was founded was founded in Florence on 13th January 1563 by Cosimo I de Medici at the suggestion of Giorgio Vasari, (1511 –1574) named as Accademia delle Arti e del Disegno (Academy and Company of the Arts of Drawing). Another academy, the Accademia di San Luca (named after the patron saint of painters, Saint Luke), was founded in 1577 in Rome.