Select All That Apply Vermeers the Art of Painting Is About

Dutch painter (1632–1675)

Johannes Vermeer
Detail of the painting The Procuress (c.  1656), believed to be a cocky portrait by Vermeer[one]
Built-in	Joannis Vermeer baptised 31 October 1632 Delft, Kingdom of the netherlands, Dutch Republic
Died	xv December 1675(1675-12-fifteen) (aged 43) Delft, Holland, Dutch Republic
Known for	Painting
Notable work	34 works universally attributed[2]
Movement	Dutch Golden Historic period Baroque

Johannes Vermeer ( fur-MEER, fur-MAIR , Dutch: [fərˈmeːr], come across below; also known as Jan Vermeer; October 1632 – 15 December 1675) was a Dutch Baroque Catamenia^[iii] painter who specialized in domestic interior scenes of heart-class life. During his lifetime, he was a moderately successful provincial genre painter, recognized in Delft and The Hague. However, he produced relatively few paintings and evidently was not wealthy, leaving his wife and children in debt at his death.^[iv]

Vermeer worked slowly and with bang-up care, and frequently used very expensive pigments. He is especially renowned for his masterly treatment and use of light in his work.^[v]

"Most all his paintings", Hans Koningsberger wrote, "are plainly set in two smallish rooms in his house in Delft; they show the aforementioned article of furniture and decorations in diverse arrangements and they often portray the same people, mostly women."^{[half dozen]}

His modest glory gave way to obscurity afterward his expiry. He was barely mentioned in Arnold Houbraken's major source book on 17th-century Dutch painting (Grand Theatre of Dutch Painters and Women Artists) and was thus omitted from subsequent surveys of Dutch fine art for nearly two centuries.^{[7] [8]} In the 19th century, Vermeer was rediscovered past Gustav Friedrich Waagen and Théophile Thoré-Bürger, who published an essay attributing 66 pictures to him, although just 34 paintings are universally attributed to him today.^[two] Since that time, Vermeer'south reputation has grown, and he is now acknowledged as i of the greatest painters of the Dutch Golden Historic period.

Like to other major Dutch Golden Age artists such equally Frans Hals and Rembrandt, Vermeer never went abroad. Too, like Rembrandt, he was an avid art collector and dealer.

Pronunciation of proper name [edit]

In Dutch, Vermeer is pronounced [vərˈmeːr], and Johannes Vermeer as [joːˈɦɑnəs fərˈmeːr], with the /v/ inverse to an [f]-sound past the preceding voiceless /southward/. The usual English pronunciation is vur-MEER .^{[9] [10] [11]} An endeavour to closer approximate the Dutch with vur-MAIR is likewise heard.^{[10] [xi] [ citation needed ]} A third pronunciation, vair-MEER , is attested from the Britain.^[12]

Life [edit]

The Jesuit Church on the Oude Langendijk in Delft, circa 1730, brush in greyness ink, by Abraham Rademaker, coll. Stadsarchief Delft

Relatively little was known about Vermeer'south life until recently.^[13] He seems to have been devoted exclusively to his art, living out his life in the metropolis of Delft. Until the 19th century, the only sources of information were some registers, a few official documents, and comments by other artists; for this reason, Thoré-Bürger named him "The Sphinx of Delft".^[14] John Michael Montias added details on the family from the city archives of Delft in his Artists and Artisans in Delft: A Socio-Economic Study of the Seventeenth Century (1982).

Youth and Heritage [edit]

Johannes Vermeer was baptized within the Reformed Church on 31 October 1632.^{[15] [xvi] [a]} His female parent, Digna Baltens (c. 1596 – 1670^{[20] [21] [22]}),^[b] was from Antwerp.^{[23] [24] [25] [18] [22]} Digna's begetter, Balthasar Geerts,^[21] or Gerrits,^[22] (born in Antwerp in or effectually 1573)^[21] led an enterprising life, and was arrested for counterfeiting.^{[21] [18]} Vermeer'southward male parent, named Reijnier Janszoon, was a middle-class worker of silk or caffa (a mixture of silk and cotton or wool).^{[Notation i]} He was the son of Jan Reyersz and Cornelia (Neeltge) Goris.^[c] As an apprentice in Amsterdam, Reijnier lived on stylish Sint Antoniesbreestraat, a street with many resident painters at the time. In 1615, Reijnier married Digna. The couple moved to Delft and had a daughter named Gertruy who was baptized in 1620.^{[Annotation 2]} In 1625, Reijnier was involved in a fight with a soldier named Willem van Bylandt who died from his wounds five months later on.^[27] Around this time, Reijnier began dealing in paintings. In 1631, he leased an inn, which he called "The Flying Fob". In 1635, he lived on Voldersgracht 25 or 26. In 1641, he bought a larger inn on the market square, named after the Flemish boondocks "Mechelen". The acquisition of the inn constituted a considerable financial brunt .^{[Huerta i]} When Reijnier died in October 1652, Vermeer took over the functioning of the family's art concern.

Matrimony and family [edit]

In April 1653, Johannes Reijniersz Vermeer married a Catholic woman, Catharina Bolenes (Bolnes).^[28] The approving took place in the tranquility nearby village of Schipluiden.^[29] Vermeer's new mother-in-law Maria Thins, was initially opposed to the marriage as she was significantly wealthier than he, and it was probably she who insisted that Vermeer convert to Catholicism before the spousal relationship on v Apr.^{[Annotation iii]} The fact that Vermeer'due south father was in considerable debt besides did not aid in discussions on the marriage. Leonaert Bramer, who was Catholic himself, put in a good word for Vermeer and it was this that led Maria to drop her oppositions.^[29] According to fine art historian Walter Liedtke, Vermeer's conversion seems to have been made with conviction.^[28] His painting The Apologue of Faith,^[30] made between 1670 and 1672, placed less emphasis on the artists' usual naturalistic concerns and more than on symbolic religious applications, including the sacrament of the Eucharist. Walter Liedtke in Dutch Paintings in the Metropolitan Museum of Fine art suggests that information technology was fabricated for a learned and devout Catholic patron, perhaps for his schuilkerk, or "hidden church".^{[Liedtke 1]} At some point, the couple moved in with Catharina's mother, who lived in a rather spacious house at Oude Langendijk, almost next to a hidden Jesuit church.^{[Note 4]} Here Vermeer lived for the rest of his life, producing paintings in the front room on the second flooring. His wife gave birth to xv children, four of whom were buried before existence baptized, but were registered as "child of Johan Vermeer".^{[Montias ane]} The names of 10 of Vermeer'due south children are known from wills written by relatives: Maertge, Elisabeth, Cornelia, Aleydis, Beatrix, Johannes, Gertruyd, Franciscus, Catharina, and Ignatius.^{[Montias 2]} Several of these names comport a religious connotation, and the youngest (Ignatius) was likely named later the founder of the Jesuit order.^{[Annotation 5] [Notation half-dozen]}

Career [edit]

Replica of the St. Luke Guildhouse on Voldersgracht in Delft

It is unclear where and with whom Vermeer apprenticed as a painter. At that place is some speculation that Carel Fabritius may have been his instructor, based upon a controversial interpretation of a text written in 1668 by printer Arnold Bon. Art historians accept plant no hard evidence to back up this.^{[Montias iii]} Local dominance Leonaert Bramer acted as a friend, but their mode of painting is rather dissimilar.^[31] Liedtke suggests that Vermeer taught himself using information from one of his father'south connections.^{[Liedtke ii]} Some scholars call up that Vermeer was trained nether Cosmic painter Abraham Bloemaert. Vermeer's way is similar to that of some of the Utrecht Caravaggists, whose works are depicted as paintings-within-paintings in the backgrounds of several of his compositions.^{[Note 7]}

On 29 Dec 1653, Vermeer became a fellow member of the Guild of Saint Luke, a trade association for painters. The society's records brand articulate that Vermeer did non pay the usual admission fee. Information technology was a year of plague, war, and economic crunch; Vermeer was not alone in experiencing hard fiscal circumstances. In 1654, the metropolis suffered the terrible explosion known as the Delft Thunderclap, which destroyed a large section of the city.^[32] In 1657, he might have found a patron in local fine art collector Pieter van Ruijven, who lent him some coin. It seems that Vermeer turned for inspiration to the art of the fijnschilders from Leiden. Vermeer was responding to the market of Gerard Dou's paintings, who sold his paintings for exorbitant prices. Dou may take influenced Pieter de Hooch and Gabriel Metsu, besides. Vermeer too charged college than average prices for his work, virtually of which were purchased by an unknown collector.^[33]

View of Delft (1660–61): "He took a turbulent reality, and made it wait like Heaven on world."^[34]

The influence of Johannes Vermeer on Metsu is unmistakable: the light from the left, the marble flooring.^{[35] [36] [37]} (A. Waiboer, however, suggests that Metsu requires more emotional interest of the viewer.) Vermeer probably competed also with Nicolaes Maes, who produced genre works in a similar way. In 1662, Vermeer was elected caput of the guild and was reelected in 1663, 1670, and 1671, show that he (similar Bramer) was considered an established craftsman among his peers. Vermeer worked slowly, probably producing three paintings a yr on guild. Balthasar de Monconys visited him in 1663 to come across some of his work, simply Vermeer had no paintings to show. The diplomat and the two French clergymen who accompanied him were sent to Hendrick van Buyten, a baker who had a couple of his paintings as collateral.

In 1671, Gerrit van Uylenburgh organised the sale of Gerrit Reynst's collection and offered 13 paintings and some sculptures to Frederick William, Elector of Brandenburg. Frederick defendant them of being counterfeits and had sent 12 dorsum on the communication of Hendrick Fromantiou.^[38] Van Uylenburg then organized a counter-cess, asking a total of 35 painters to pronounce on their authenticity, including Jan Lievens, Melchior de Hondecoeter, Gerbrand van den Eeckhout, and Johannes Vermeer.

Wars and death [edit]

Memorial (2007) of Johannes Vermeer in Oude Kerk. Delft, Netherlands

In 1672, a severe economical downturn (the "Year of Disaster") struck the netherlands, after Louis XIV and a French regular army invaded the Dutch Commonwealth from the south (known as the Franco-Dutch State of war). During the Tertiary Anglo-Dutch War, an English fleet and two allied German bishops attacked the country from the eastward, causing more devastation. Many people panicked; courts, theaters, shops and schools were closed. V years passed before circumstances improved. In 1674, Vermeer was listed as a fellow member of the civic guards.^[39] In the summer of 1675, Vermeer borrowed 1,000 guilders in Amsterdam from Jacob Romboutsz (grandfather of Hendrick Sorgh), an Amsterdam silk trader, using his mother-in-law'south property as a surety.^{[40] [41]}

On 15 December 1675, Vermeer died subsequently a brusque illness aged 43. He was buried in the Protestant Old Church on 15 December 1675.^{[Note eight] [Note ix]} In a petition to her creditors, his wife afterward described his death as follows:

...during the ruinous war with France he not only was unable to sell any of his art but besides, to his swell detriment, was left sitting with the paintings of other masters that he was dealing in. Every bit a effect and attributable to the great burden of his children having no means of his own, he lapsed into such decay and decadence, which he had so taken to center that, as if he had fallen into a frenzy, in a day and a one-half he went from being healthy to being expressionless.^[42]

Catharina Bolnes attributed her husband's expiry to the stress of financial pressures. The collapse of the fine art marketplace damaged Vermeer'south business as both a painter and an art dealer. She had to heighten 11 children and therefore asked the Loftier Court to relieve her of debts owed to Vermeer'due south creditors.^{[Montias i]} Dutch microscopist Antonie van Leeuwenhoek, who worked for the city council as a surveyor, was appointed trustee.^[43] The firm had viii rooms on the showtime floor, the contents of which were listed in an inventory taken a few months afterward Vermeer's death.^[44] In his studio, there were two chairs, two painter's easels, three palettes, ten canvases, a desk, an oak pull table, a small wooden cupboard with drawers, and "rummage not worthy existence itemized".^{[Montias 4]} Nineteen of Vermeer's paintings were ancestral to Catharina and her mother. The widow sold 2 more paintings to Hendrick van Buyten to pay off a substantial debt.^[45]

Vermeer had been a respected creative person in Delft, but he was about unknown outside his hometown. A local patron named Pieter van Ruijven had purchased much of his output, which reduced the possibility of his fame spreading.^{[Note ten]} Several factors contributed to his limited body of work. Vermeer never had any pupils, though one scholar has suggested that Vermeer taught his eldest daughter Maria to paint.^[46] Additionally, his family unit obligations with and then many children may take taken up much of his time, as would acting as both an art dealer and inn-keeper in running the family businesses. His time spent serving equally caput of the gild and his extraordinary precision as a painter may have also limited his output.

Manner [edit]

Vermeer may have first executed his paintings tonally like most painters of his fourth dimension, using either monochrome shades of grey ("grisaille") or a limited palette of browns and greys ("dead coloring"), over which he would employ more than saturated colors (reds, yellows and blues) in the form of transparent glazes. No drawings have been positively attributed to Vermeer, and his paintings offer few clues to preparatory methods.

At that place is no other 17th-century artist who employed the exorbitantly expensive pigment lapis lazuli (natural ultramarine) either so lavishly or so early in his career. Vermeer used this in not merely elements that are naturally of this color; the earth colours umber and ochre should be understood as warm light within a painting'south strongly lit interior, which reflects its multiple colours onto the wall. In this manner, he created a world more perfect than any he had witnessed.^{[Liedtke 3]} This working method most probably was inspired past Vermeer's agreement of Leonardo's observations that the surface of every object partakes of the colour of the side by side object.^[47] This means that no object is always seen entirely in its natural colour.

A comparable merely even more remarkable, nevertheless effectual, use of natural ultramarine is in The Girl with the Wine Glass. The shadows of the red satin wearing apparel are underpainted in natural ultramarine,^[48] and, attributable to this underlying blue paint layer, the cerise lake and vermilion mixture applied over it acquires a slightly imperial, cool and crisp appearance that is near powerful.

Even afterward Vermeer's supposed financial breakdown post-obit the so-chosen rampjaar (year of disaster) in 1672, he continued to employ natural ultramarine generously, such as in Lady Seated at a Virginal. This could suggest that Vermeer was supplied with materials past a collector, and would coincide with John Michael Montias' theory that Pieter van Ruijven was Vermeer's patron.

Vermeer's works are largely genre pieces and portraits, with the exception of two cityscapes and two allegories. His subjects offer a cross-department of seventeenth-century Dutch social club, ranging from the portrayal of a uncomplicated milkmaid at work, to the luxury and splendour of rich notables and merchantmen in their roomy houses. Also these subjects, religious, poetical, musical, and scientific comments can also be institute in his work.

Painting materials [edit]

One aspect of his meticulous painting technique was Vermeer'due south choice of pigments.^[49] He is best known for his frequent apply of the very expensive ultramarine (The Milkmaid), and also lead-tin can-yellow (A Lady Writing a Letter), madder lake (Christ in the House of Martha and Mary), and vermilion. He also painted with ochres, bone blackness and azurite.^[fifty] The merits that he utilized Indian yellow in Woman Holding a Balance ^[51] has been disproven by later pigment analysis.^[52]

In Vermeer'southward oeuvre, but nearly 20 pigments have been detected. Of these xx pigments, 7 primary pigments which Vermeer commonly employed include lead white, yellowish ochre, vermilion, madder lake, green world, raw umber, and ivory or bone black.^[53]

Theories of mechanical aid [edit]

Vermeer's painting techniques have long been a source of debate, given their about photorealistic attention to detail, despite Vermeer's having had no formal training, and despite only limited show that Vermeer had created whatever preparatory sketches or traces for his paintings.^[54]

In 2001, British artist David Hockney published the book Hugger-mugger Cognition: Rediscovering the Lost Techniques of the Old Masters, in which he argued that Vermeer (amid other Renaissance and Bizarre artists including Hans Holbein and Diego Velázquez) used optics to achieve precise positioning in their compositions, and specifically some combination of curved mirrors, photographic camera obscura, and photographic camera lucida. This became known as the Hockney–Falco thesis, named after Hockney and Charles Yard. Falco, another proponent of the theory.

Professor Philip Steadman published the volume Vermeer's Photographic camera: Uncovering the Truth behind the Masterpieces in 2001 which specifically claimed that Vermeer had used a photographic camera obscura to create his paintings. Steadman noted that many of Vermeer's paintings had been painted in the same room, and he institute half-dozen of his paintings that are precisely the right size if they had been painted from inside a camera obscura in the room's back wall.^[55]

Supporters of these theories have pointed to evidence in some of Vermeer's paintings, such as the often-discussed sparkling pearly highlights in Vermeer'due south paintings, which they debate are the upshot of the primitive lens of a camera obscura producing halation. Information technology was also postulated that a camera obscura was the mechanical crusade of the "exaggerated" perspective seen in The Music Lesson (London, Royal Collection).^[56]

In 2008, American entrepreneur and inventor Tim Jenison developed the theory that Vermeer had used a camera obscura along with a "comparator mirror", which is like in concept to a camera lucida but much simpler and makes information technology easy to match color values. He later modified the theory to simply involve a concave mirror and a comparator mirror. He spent the next five years testing his theory by attempting to re-create The Music Lesson himself using these tools, a process captured in the 2013 documentary film Tim's Vermeer.^[57]

Several points were brought out by Jenison in support of this technique: first was Vermeer's hyper-authentic rendition of light falloff forth the wall. Neurobiologist Colin Blakemore, in an interview with Jenison, notes that human vision cannot process data about the absolute effulgence of a scene.^[58] Another was the addition of several highlights and outlines consequent with matching the effects of chromatic abnormality, specially noticeable in primitive optics. Last, and perhaps almost telling, is a noticeable curvature in the original painting'due south rendition of the scrollwork on the virginal. This consequence matched Jenison'south technique precisely, acquired by exactly duplicating the view equally seen from a curved mirror.

This theory remains disputed. There is no historical evidence regarding Vermeer's involvement in optics, aside from the accurately observed mirror reflection above the lady at the virginals in The Music Lesson. The detailed inventory of the artist'southward belongings fatigued upwards subsequently his death does not include a camera obscura or any similar device.^[59] However, Vermeer was in shut connection with pioneer lens maker Antonie van Leeuwenhoek, and Leeuwenhoek was his executor after death.^[60]

Works [edit]

Vermeer produced a total of fewer than 50 paintings, of which 34 have survived.^[61] Only three Vermeer paintings were dated by the artist: The Procuress (1656; Gemäldegalerie, Dresden); The Astronomer (1668; Musée du Louvre, Paris); and The Geographer (1669; Städelsches Kunstinstitut, Frankfurt).

Vermeer'south mother in law Maria Thins owned Dirck van Baburen'south 1622 oil on sail The Procuress (or a re-create of it), which appears in the background of 2 of Vermeer's paintings. The same bailiwick was also painted past Vermeer. Most all of Vermeer's paintings are of gimmicky subjects in a smaller format, with a cooler palette dominated past blues, yellows, and grays. Practically all of his surviving works vest to this period, usually domestic interiors with ane or 2 figures lit by a window on the left.^[62] They are characterized by a sense of compositional balance and spatial order, unified by a pearly light. Mundane domestic or recreational activities are imbued with a poetic timelessness (east.g., Girl Reading a Letter of the alphabet at an Open Window, Dresden, Gemäldegalerie). Vermeer's two townscapes take also been attributed to this menstruum: View of Delft (The Hague, Mauritshuis) and A street in Delft (Amsterdam, Rijksmuseum).

A few of his paintings show a sure hardening of manner and are generally thought to represent his late works. From this period come The Allegory of Faith (c. 1670; Metropolitan Museum of Art, New York) and The Love Letter (c. 1670; Rijksmuseum, Amsterdam).

Legacy [edit]

Originally, Vermeer'due south works were largely disregarded by art historians for two centuries after his decease. A select number of connoisseurs in the Netherlands did appreciate his piece of work, yet even so, many of his works were attributed to better-known artists such every bit Metsu or Mieris. The Delft master'due south modernistic rediscovery began about 1860, when German museum director Gustav Waagen saw The Art of Painting in the Czernin gallery in Vienna and recognized the work every bit a Vermeer, though it was attributed to Pieter de Hooch at that time.^[63] Inquiry by Théophile Thoré-Bürger culminated in the publication of his catalogue raisonné of Vermeer's works in the Gazette des Beaux-Arts in 1866.^[64] Thoré-Bürger'due south catalogue drew international attention to Vermeer^[65] and listed more than 70 works by him, including many that he regarded as uncertain.^[64] The accepted number of Vermeer's paintings today is 34.

Upon the rediscovery of Vermeer's piece of work, several prominent Dutch artists modelled their style on his work, including Simon Duiker. Other artists who were inspired by Vermeer include Danish painter Wilhelm Hammershoi^[66] and American Thomas Wilmer Dewing.^[67] In the 20th century, Vermeer's admirers included Salvador Dalí, who painted his own version of The Lacemaker (on commission from collector Robert Lehman) and pitted big copies of the original against a rhinoceros in some surrealist experiments. Dali also historic the master in The Ghost of Vermeer of Delft Which Can Exist Used As a Table, 1934.

Han van Meegeren was a 20th-century Dutch painter who worked in the classical tradition. He became a master forger, motivated by a blend of aesthetic and financial reasons, creating and selling many new "Vermeers" before turning himself in for forgery to avert existence charged with majuscule treason for collaboration with the Nazis, specifically, in selling what had been believed to be original artwork to the Nazis.^[68]

On the evening of 23 September 1971, a 21-year-old hotel waiter, Mario Pierre Roymans, stole Vermeer'south Dear Letter from the Fine Arts Palace in Brussels where it was on loan from the Rijksmuseum for the exhibition Rembrandt and his Age.^[69]

To mark the 26th anniversary of the opening of an exhibition at Washington, DC'due south National Gallery of Art featuring his work, Google honored Vermeer with a Google Doodle on 12 November 2021. ^[70]

In popular civilization [edit]

Vermeer'due south reputation and works have been featured in both literature and in films. Tracy Chevalier's novel Girl with a Pearl Earring (1999), and the 2003 film of the same name, present a fictional account of Vermeer'due south creation of the famous painting and his relationship with the equally fictional model.

Gallery of selected works [edit]

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Notes [edit]

1. ^ Vermeer was baptized as Joannis.^{[17] [15]} January was the most popular version of the proper name among Calvinists. Joannis was a Latinazied form of Jan, which was preferred by Roman Catholics and upper-middle class Protestants.^{[17] [15]} However, Vermeer was built-in into a lower-middle class family.^{[18] [19]} Still, according to Montias, information technology is unlikely that his parents were Catholics "at this time [the time of Vermeer'south baptism]," seeing that they "baptized him in the established church."^[17] Throughout his life, Vermeer never used the name Jan. Nevertheless, "near Dutch authors, in the century since his rediscovery, accept dubbed him Jan, perhaps unconsciously to bring him closer to the mainstream of Calvinist culture."^{[17] [15]}
2. ^ His mother was born in Antwerp. When she married Vermeer's male parent in 1615, she claimed to be twenty years old, but she may have "exaggerated her age by a year or so."^[twenty] Digna's parents were married in Antwerp in 1596.
3. ^ Neeltge remarried three times, the 2d time shortly afterwards Jan's death, in October 1597.^[26]

1. ^ His name was Reijnier or Reynier Janszoon, always written in Dutch every bit Jansz. or Jansz; this was his patronym. As there was another Reijnier Jansz at that time in Delft, it seemed necessary to use the pseudonym "Vos", meaning Fox. From 1640 onward, he had changed his alias to Vermeer.
2. ^ In 1647 Geertruy, Vermeer's merely sis, married a frame maker. She kept on working at the inn helping her parents, serving drinks and making beds.
3. ^ Catholicism was not a forbidden faith, simply tolerated in the Dutch Republic. They were not allowed to build new churches, so services were held in hidden churches (so-called Schuilkerk). Catholics were restrained in their careers, unable to get high-rank jobs in city assistants or civic guard. It was incommunicable to be elected as a member of the urban center quango; therefore, the Catholics were not represented in the provincial and national assembly.
4. ^ A Roman Cosmic chapel at present exists at this spot.
5. ^ The parish registers of the Delft Cosmic church building exercise non be anymore, so it is impossible to prove but likely that his children were baptized in a hidden church.
6. ^ The number of children seems inconsistent, but 11 was stated by his widow in a certificate to get assistance from the metropolis council. Ane child died after this document was written.
7. ^ Identifiable works include compositions by Utrecht painters Baburen and Everdingen
8. ^ He was baptized every bit Joannis, but buried under the name January.^{[ relevance questioned ]}
9. ^ When Catharina Bolnes was buried in 1688, she was registered as the "widow of Johan Vermeer".
10. ^ Van Ruijven's son-in-law Jacob Dissius owned 21 paintings past Vermeer, listed in his heritage in 1695. These paintings were sold in Amsterdam the following yr in a much-studied auction, published by Gerard Hoet.

References [edit]

1. ^ "The Procuress: Bear witness for a Vermeer Self-Portrait". Retrieved 13 September 2010.
2. ^ ^{a b} Jonathan Janson, Essential Vermeer: complete Vermeer catalogue; accessed 16 June 2010.
3. ^ Jennifer Courtney & Courtney Sanford: "Marvelous To Behold" Classical Conversations (2018)
4. ^ "Jan Vermeer". The Bulfinch Guide to Art History. Artchive. Retrieved 21 September 2009.
5. ^ "An Interview with Jørgen Wadum". Essential Vermeer. 5 February 2003. Retrieved 21 September 2009.
6. ^ Koningsberger, Hans. 1977. The World of Vermeer, New York: Time-Life Books.
7. ^ Barker, Emma; et al. (1999). The Changing Status of the Artist. New Haven: Yale Academy Press. p. 199. ISBN0-300-07740-8.
8. ^ Vermeer was largely unknown to the general public, merely his reputation was not totally eclipsed after his death: "While it is true that he did not achieve widespread fame until the 19th century, his work had ever been valued and admired by well-informed connoisseurs." Blankert, Albert, et al. Vermeer and his Public, p. 164. New York: Overlook, 2007, ISBN 978-1-58567-979-9
9. ^ "Vermeer, January". Lexico UK English Dictionary. Oxford University Press. n.d. Retrieved 6 August 2019.
10. ^ ^{a b} "Vermeer". The American Heritage Dictionary of the English Linguistic communication (5th ed.). HarperCollins. Retrieved 6 August 2019.
11. ^ ^{a b} "Vermeer". Merriam-Webster Dictionary . Retrieved 6 Baronial 2019.
12. ^ "Vermeer". Collins English Dictionary. HarperCollins. Retrieved half-dozen August 2019.
13. ^ "Vermeer the Man and Painter". Essential Vermeer. Retrieved 10 April 2014.
14. ^ "Vermeer: A View of Delft". The Economist. 1 April 2001. Archived from the original on 5 Nov 2012. Retrieved 21 September 2009.
15. ^ ^{a b c d} "Vermeer'southward Name". Essential Vermeer. Retrieved 21 September 2009.
16. ^ "Digital Family Tree of the Municipal Records Part of the City of Delft". Beheersraad Digitale Stamboom. 2004. Archived from the original on 23 Feb 2013. Retrieved 21 September 2009. The painter is recorded as: Child=Joannis; Father=Reijnier Jansz; Female parent=Dingnum Balthasars; Witnesses=Pieter Brammer, Jan Heijndricxsz, Maertge Jans; Place=Delft; Appointment of baptism=31 October 1632.
17. ^ ^{a b c d} Montias, John Michael (2018). Vermeer and His Milieu A Web of Social History. New Haven, Connecticut: Princeton University Press. p. 64–65. ISBN978-0-691-18859-one.
18. ^ ^{a b c} "Vermeer's Life and Art". essentialvermeer 3.0. Retrieved 27 November 2020.
19. ^ "Johannes Vermeer". theartstory.org . Retrieved 16 December 2020.
20. ^ ^{a b} Montias, John Michael (2018). Vermeer and His Milieu A Web of Social History. New Oasis, Connecticut: Princeton University Press. p. 17. ISBN978-0-691-18859-1.
21. ^ ^{a b c d} Montias, John Michael (1989). Vermeer and His Milieu: A Web of Social History. Princeton Academy Printing. pp. 17–34. JSTOR j.ctv301fz1.
22. ^ ^{a b c} "Vermeer's Family Tree". essentialvermeer three.0. Retrieved 27 November 2020.
23. ^ Balis, Arnout; Lauwers-Derveaux, Elisabeth; Janssens, Paul (2006). België in de 17de eeuw: deel 3. De leefwereld. Dexia Bank. p. 161.
24. ^ Blankert, Albert; Ruurs, Rob; Watering, Willem Fifty. van de (1975). Johannes Vermeer van Delft 1632-1675. Spectrum. p. 121. ISBN978-90-274-8334-eight.
25. ^ "About Johannes Vermeer". Vermeer centrum Delft. Retrieved 27 November 2020.
26. ^ John Michael Montias (1989). Vermeer and His Milieu: A Web of Social History. Princeton Academy Printing. pp. 35–55. ISBN0-691-00289-four.
27. ^ John Michael Montias (1989). Vermeer and His Milieu: A Spider web of Social History. Princeton University Press. p. 83. ISBN0-691-00289-4.
28. ^ ^{a b} Liedtke, Walter; Plomp, Michiel C.; Rüger, Axel (2001). Vermeer and the Delft school: [catalogue ... in conjunction with the exhibition "Vermeer and the Delft School" held at The Metropolitan Museum of Art, New York, from 8 March to 27 May 2001, and at The National Gallery, London, from 20 June to sixteen September 2001]. New Haven: Yale University Press. p. 359. ISBN0-87099-973-7.
29. ^ ^{a b} Schneider, Norbert (2000). Vermeer: The Complete Paintings. Taschen. p. 8.
30. ^ "Johannes Vermeer: Allegory of the Catholic Faith (32.100.18) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art". Metmuseum.org. 20 July 2012. Retrieved 24 July 2012.
31. ^ "Vermeer biography". National Gallery of Fine art. Retrieved 21 September 2009.
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35. ^ Adriaan East. Waiboer, Gabriel Metsu (1629–1667): Life and Work, PhD dissertation, New York Academy, School of Fine Arts, 2007: ProQuest, pp. 225–30.
36. ^ "Curator in the spotlight: Adriaan Eastward. Waiboer, National Gallery of Ireland, Dublin", Codart, retrieved 12 September 2014.
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Sources [edit]

• Liedtke, Walter A. (2007). Dutch Paintings in the Metropolitan Museum of Art. Metropolitan Museum of Art. ISBN978-0-300-12028-viii.

1. ^ West. Liedtke, p. 893.
2. ^ Due west. Liedtke, p. 866.
3. ^ Westward. Liedtke, p. 867.

• Montias, John Michael (1991). Vermeer and His Milieu: A Web of Social History (reprint, illustrated ed.). Princeton University Press. ISBN978-0-691-00289-vii.

1. ^ ^{a b} pp. 344–345.
2. ^ pp. 370–371.
3. ^ p. 104.
4. ^ pp. 339–344.

• Huerta, Robert D. (2003). Giants of Delft: Johannes Vermeer and the Natural Philosophers: the Parallel Search for Knowledge During the Age of Discovery. Bucknell Academy Press. ISBN978-0-8387-5538-nine.

1. ^ pp. 42–43.

Further reading [edit]

• Liedtke, Walter (2009). The Milkmaid by Johannes Vermeer. New York: The Metropolitan Museum of Fine art. ISBN978-1-58839-344-9.
• Liedtke, Walter A. (2001). Vermeer and the Delft School. Metropolitan Museum of Art. ISBN978-0-87099-973-4.
• Kreuger, Frederik H. (2007). New Vermeer, Life and Work of Han van Meegeren. Rijswijk: Quantes. pp. 54, 218 and 220 give examples of Van Meegeren fakes that were removed from their museum walls. Pages 220/221 requite an instance of a non–Van Meegeren faux attributed to him. ISBN978-ninety-5959-047-2. Archived from the original on 29 August 2010. Retrieved 21 September 2009.
• Singh, Iona (2012). "Vermeer, Materialism and the Transcendental in Art". from the book, Color, Facture, Art & Design. U.k.: Cypher Books. pp. 18–40.
• Schneider, Nobert (1993). Vermeer. Cologne: Benedikt Taschen Verlag. ISBNthree-8228-6377-7.
• Sheldon, Libby; Nicola Costaros (February 2006). "Johannes Vermeer'south 'Young woman seated at a virginal". The Burlington Magazine (vol. CXLVIII ed.) (1235).
• Snyder, Laura J. (2015). Eye of the Beholder: Johannes Vermeer, Antoni van Leeuwenhoek, and the Reinvention of Seeing. New York: W. W. Norton. ISBN978-0-393-07746-nine.
• Steadman, Philip (2002). Vermeer'due south Camera, the truth behind the masterpieces . Oxford University Printing. ISBN0-19-280302-6.
• Wadum, J. (1998). "Contours of Vermeer". In I. Gaskel and M. Jonker (ed.). Vermeer Studies. Studies in the History of Art. Washington/New Oasis: Heart for Advanced Report in the Visual Arts, Symposium Papers XXXIII. pp. 201–223.
• Wheelock, Arthur Thou., Jr. (1988) [1st. Pub. 1981]. January Vermeer. New York: Abrams. ISBN0-8109-1737-8.

External links [edit]

• 500 pages on Vermeer and Delft
• Johannes Vermeer, biography at Artble
• Essential Vermeer, website dedicated to Johannes Vermeer
• Johannes Vermeer in the Encyclopædia Britannica
• Vermeer Centre Delft, centre with tours about Vermeer
• Vermeer's Mania for Maps, WGBHForum, 30 December 2016
• Pigment analyses of many of Vermeer'southward paintings at Colourlex
• Location of Vermeer'due south The Little Street

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Source: https://en.wikipedia.org/wiki/Johannes_Vermeer

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