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Paintings
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The Milkmaid by Johannes Vermeer
In this catalogue for the exhibition, Walter Liedtke, Curator of Paintings at the Metropolitan, drawing on the Museum's five Vermeers, scenes by other Dutch masters in the Museum's collection, including Pieter de Hooch, Gabriel Metsu, Nicolaes Maes, and Emanuel de Witte, and several works on paper, places the picture in the context of the artist's brief career and relates it to contemporary developments in Dutch art. In addition to an extended discussion of the painting's provenance, he provides a detailed study of the composition, the several revisions made during the course of execution, and the subtle relationships between light and shadow, color, contour, and shape. And he proposes a most intriguing argument for an erotic subtext, pointing out that, like maids and kitchen maids in earlier Netherlandish art, the figure in The Milkmaid was meant to attract the male viewer, to rouse in him temptation and restraint, desire and reservation, while the kitchen maid herself, endowed with traits typically reserved for higher-class women and surrounded by references to romance both literal and oblique, is presented as having amorous thoughts of her own.
Traces of Vermeer
Johannes Vermeer's luminous paintings are loved and admired around the world, yet we do not understand how they were made. We see sunlit spaces; the glimmer of satin, silver, and linen; we see the softness of a hand on a lute string or letter. We recognise the distilled impression of a moment of time; and we feel it to be real. We might hope for some answers from the experts, but they are confounded too. Even with the modern technology available, they do not know why there is no evidence of any preliminary drawing; why there are shifts in focus; and why his pictures are unusually blurred. Some wonder if he might possibly have used a camera obscura to capture what he saw before him. The few t...
Vermeer & the Art of Painting
This book examines the creative process and technical means by which the great Dutch seventeenth-century painter achieved his remarkable pictorial effects. Arthur Wheelock begins by placing Vermeer's art in historical perspective, with emphasis on the artistic environment in his home city of Delft and the importance of history painting in the mid-1600s. He then closely examines seventeen of the thirty-six extant paintings in Vermeer's oeuvre, works that span the range of the artist's career. Using the results of x-rays, pigment analysis, and infrared reflectography, some of the secrets of Vermeer's wonderfully elusive artistry are revealed. For example, Vermeer was able to simulate reality, simplify and highlight meaning, establish a sense of time and permanence, and enhance the mood he wished to create through inventive use of brushwork, color, and compositional refinements. Lavishly illustrated with color reproductions of Vermeer's paintings, the book is certain to appeal to all devotees of Dutch art.
Masters of Art
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Johannes Vermeer
The Girl Reading a Letter at an Open Window by Johannes Vermeer is one of the most famous works of seventeenth-century Dutch art. Preserved at the Gemaldegalerie Alte Meister in Dresden, the painting has been restored, in an elaborate process lasting from 2017 to 2021. The removal of a large section of overpainting dating from a later period has profoundly altered the work's appearance and revealed the original composition. To showcase the discovery, the Dresden Gemaldegalerie is now presenting the Girl Reading a Letter along with other masterpieces by Vermeer and a selection of exceptional Dutch genre paintings that reveal parallels and reciprocities between the art of Vermeer and that of his peers. This catalog brings together texts by renowned scholars as they explore not only the restoration of this pivotal work but also fundamental questions on the visual vernacular and essence of Vermeer's painting, his optical realism, his iconography of love, and the lived realities of women in the Dutch Golden Age.
Vermeer and His Milieu
This book is not only a fascinating biography of one of the greatest painters of the seventeenth century but also a social history of the colorful extended family to which he belonged and of the town life of the period. It explores a series of distinct worlds: Delft's Small-Cattle Market, where Vermeer's paternal family settled early in the century; the milieu of shady businessmen in Amsterdam that recruited Vermeer's grandfather to counterfeit coins; the artists, military contractors, and Protestant burghers who frequented the inn of Vermeer's father in Delft's Great Market Square; and the quiet, distinguished "Papists Corner" in which Vermeer, after marrying into a high-born Catholic family, retired to practice his art, while retaining ties with wealthy Protestant patrons. The relationship of Vermeer to his principal patron is one of many original discoveries in the book.
Vermeer's Camera
Over 100 years of speculation and controversy surround claims that the great seventeenth-century Dutch artist, Johannes Vermeer, used the camera obscura to create some of the most famous images in Western art. This intellectual detective story starts by exploring Vermeer's possible knowledge of seventeenth-century optical science, and outlines the history of this early version of the photographic camera, which projected an accurate image for artists to trace. However, it is Steadman's meticulous reconstruction of the artist's studio, complete with a camera obscura, which provides exciting new evidence to support the view that Vermeer did indeed use the camera.These findings do not challenge Vermeer's genius but show how, like many artists, he experimented with new technology to develop his style and choice of subject matter. The combination of detailed research and a wide range of contemporary illustrations offers a fascinating glimpse into a time of great scientific and cultural innovation and achievement in Europe.
Vermeer's Wager
Vermeer's Wager stands at the intersection of art history and criticism, philosophy and museology. Using a familiar and celebrated painting by Johannes Vermeer as a case study, Ivan Gaskell explores what it might mean to know and use a work of art. He argues that art history as generally practiced, while successfully asserting certain claims to knowledge, fails to take into account aspects of the unique character of works of art. Our relationship to art is mediated, not only through reproduction – particularly photography – but also through displays in museums. In an analysis that ranges from seventeenth-century Holland, through mid-nineteenth-century France, to artists' and curators' practice today, Gaskell draws on his experience of Dutch art history, philosophy and contemporary art criticism. Anyone with an interest in Vermeer and the afterlife of his art will value this book, as will all who think seriously about the role of photography in perception and the core purposes of art museums.
All the Paintings of Jan Vermeer
Vermeer's art can be understood as a synthesis of Dutch life and taste, a visual rendering of its plainness and scrupulous order, but, on the other hand--as the historian Huizinga adds--"these are not women of the year sixteen hundred such and such, but figures from an elegiac dream-world of utter peace and tranquillity."
