Dresden, Staatliche Gemäldegalerie
Only three works by Vermeer are dated: this one of 1656, The Astronomer of 1668, and The Geographer of 1669. The Procuress is a crucial work for understanding Vermeer's development and relationship with the Delft school. The decade of the 1650s was a transitional period for artists in the city who were responding as never before to styles and subjects developed for the most part elsewhere in Holland.
Large ribald "merry company" pictures were popularized by Gerard van Honthorst and others in Utrecht in the 1620s. Many works of this type feature a balustrade or other barrier in the foreground, often with a carpet thrown over it. Vermeer appears to have combined this spatial device with a close, downward view of a table. The viewer is placed disconcertingly near the revelers who, while not standoffish, are unconcerned with what we think.
The figure on the left, probably a self-portrait, seems spliced in from another context. The mirrorlike immediacy of this passage, with its soft-focus light, could have been inspired by the works of Carel Fabritius. Throughout the picture, sudden shifts in depth, definition, and texture reveal a spirit of intense experimentation and, to some extent, forecast Vermeer's later optical effects.
The grinning glance of the dandy in the outdated doublet draws attention to the objects in his hands. Of the lute we are shown only a phallic fragment, held erect under the more feminine form of the glass.
More information on Vermeers paintings
Source:
www.metmuseum.org
vrijdag 25 februari 2011
dinsdag 22 februari 2011
Christ in the house of Martha and Mary (1658)
Edinburgh, National Gallery / www.natgalscot.ac.uk
This was one of Vermeer's earliest paintings. Paintings of biblical themes were classified as histories, which were described in treatises on art as most distinguished tasks. Vermeer probably wanted to demonstrate his abilities in this genre upon entry to the Guild of St. Luke.
Vermeer loved strong colour contrasts. The bright white tablecloth contrasts sharply with Mary's vermilion blouse and Christ's blue robe. Given the many genre paintings done by Vermeer, it is perhaps surprising to realise that the earliest of his works known to us are of the type of paintings known in his time as histories. It apparently seemed important to the young artist (or it was expected of him) to prove that he possessed the abilities of an "educated artist", upon his admission to the painters' guild; such an artist would be able to inform what the art world considered to be lofty subjects with decorum, in a proper and becoming manner.
In contrast to many works of Vermeer's late period, Christ in the House of Mary and Martha is a relatively large painting (160 x 142 cm). It depicts a New Testament scene from the Gospel of St. Luke, where the evangelist tells us how Christ went to a market, and was invited home for a meal by a woman called Martha. While Martha was busy in the kitchen, her sister Mary listened to Christ. Martha asked Christ why he did not ask Mary to help her serve, but he answered, "Martha, Martha, you are anxious and troubled about many things; one thing is needful. Mary has chosen the good portion, which shall not be taken away from her."
More information on Vermeers paintings
Source:
www.all-art.org
This was one of Vermeer's earliest paintings. Paintings of biblical themes were classified as histories, which were described in treatises on art as most distinguished tasks. Vermeer probably wanted to demonstrate his abilities in this genre upon entry to the Guild of St. Luke.
Vermeer loved strong colour contrasts. The bright white tablecloth contrasts sharply with Mary's vermilion blouse and Christ's blue robe. Given the many genre paintings done by Vermeer, it is perhaps surprising to realise that the earliest of his works known to us are of the type of paintings known in his time as histories. It apparently seemed important to the young artist (or it was expected of him) to prove that he possessed the abilities of an "educated artist", upon his admission to the painters' guild; such an artist would be able to inform what the art world considered to be lofty subjects with decorum, in a proper and becoming manner.
In contrast to many works of Vermeer's late period, Christ in the House of Mary and Martha is a relatively large painting (160 x 142 cm). It depicts a New Testament scene from the Gospel of St. Luke, where the evangelist tells us how Christ went to a market, and was invited home for a meal by a woman called Martha. While Martha was busy in the kitchen, her sister Mary listened to Christ. Martha asked Christ why he did not ask Mary to help her serve, but he answered, "Martha, Martha, you are anxious and troubled about many things; one thing is needful. Mary has chosen the good portion, which shall not be taken away from her."
More information on Vermeers paintings
Source:
www.all-art.org
maandag 21 februari 2011
Diana and her Companions (1654 - 1658)
The Hague, Mauritshuis / www.mauritshuis.nl
Probably the earliest surviving painting by Johannes Vermeer. It is very little like the characteristic style he would develop, being much influenced by the Italianate school of the likes of Caravaggio, and it is the only one of his based on mythology.
The signature was destroyed by several bouts of cleaning in the nineteenth century, but in 1895 it was recorded as reading J R VMeer. This is not conclusive, since there were numerous artists of very similar name around at the time. What makes the difference however is the nymph bathing Diana's feet. Her face is rather like that of the maid in an unquestionable Vermeer, Maid Asleep, but as they're at quite different angles, it's actually the bronze-coloured satin garment she's wearing in both pictures that nails it.
It's a landscape of sorts. At least, it's outdoors. The goddess Diana is in the centre in a gold dress, facing right, there's a nymph squatting to wash her feet, and there are three other companions nearby. And a dog. Apparently this is the only animal in Vermeer's works. It's a typical pastoral scene of the era, without much merit. There's nothing original about the composition, and there's nothing very Vermeerian about the lighting, or the expressions on their faces, the two things that are so striking about his later paintings.
More information on Vermeers paintings
Sources:
www.wikipedia.com
www.everything2.com / diana T.
Probably the earliest surviving painting by Johannes Vermeer. It is very little like the characteristic style he would develop, being much influenced by the Italianate school of the likes of Caravaggio, and it is the only one of his based on mythology.
The signature was destroyed by several bouts of cleaning in the nineteenth century, but in 1895 it was recorded as reading J R VMeer. This is not conclusive, since there were numerous artists of very similar name around at the time. What makes the difference however is the nymph bathing Diana's feet. Her face is rather like that of the maid in an unquestionable Vermeer, Maid Asleep, but as they're at quite different angles, it's actually the bronze-coloured satin garment she's wearing in both pictures that nails it.
It's a landscape of sorts. At least, it's outdoors. The goddess Diana is in the centre in a gold dress, facing right, there's a nymph squatting to wash her feet, and there are three other companions nearby. And a dog. Apparently this is the only animal in Vermeer's works. It's a typical pastoral scene of the era, without much merit. There's nothing original about the composition, and there's nothing very Vermeerian about the lighting, or the expressions on their faces, the two things that are so striking about his later paintings.
More information on Vermeers paintings
Sources:
www.wikipedia.com
www.everything2.com / diana T.
zondag 13 februari 2011
Brieflezende vrouw in het blauw (1662 - 1665)
Een jonge vrouw leest aandachtig een brief. Zij staat tussen de meubels, in het licht van een denkbeeldig venster. Achter haar hangt een landkaart. Het tafereel heeft een ingetogen karakter door het gebruik van gedekte kleuren, blauw en bruin.
Vermeer speelde een spelletje met licht en schaduw. Terwijl de landkaart en de stoel een slagschaduw werpen op de muur, ontbreekt de schaduw bij de vrouw. Zij komt daardoor los van de achtergrond. De subtiele kleurschakeringen en contrasten in dit schilderijtje werden al vroeg bewonderd. In 1791 vermeldde een veilingcatalogus: 'Het bevallig ligt en donker geeft een schoone welstand'.
Bronnen:
1) www.rijksmuseum.nl
Meer informatie schilderijen Vermeer
dinsdag 8 februari 2011
Scene Meisje met de parel op Youtube
De film "The girl with the pearl Earring" met Scarlet Johanson is voor Vermeerliefhebbers een aanrader. Op Youtube zijn enkele markante scenes terug te vinden:
Videopresentatie schilderijen Vermeer
Op YouTube staat deze mooie presentatie met schilderijen van Vermeer. Veel kijkplezier!
Het Straatje van Vermeer (1661)
Aan een met kinderhoofdjes geplaveid straatje staan twee huizen met een poortje ertussen. In een deuropening zit een vrouw te handwerken; twee kinderen spelen op de stoep. Door een gootje in het plaveisel stroomt sop: waarschijnlijk heeft de vrouw in het gangetje net haar stoepje geschrobd. Bijna terloops legde Vermeer dit alledaagse moment vast.
Het straatje dat Vermeer schilderde is wereldberoemd maar tegelijk onbekend. Het is onduidelijk welke plek is afgebeeld en of het straatje wel echt heeft bestaan. Belangrijker dan de locatie is de atmosfeer van dit schilderij. De vrouwen werken vlijtig en de kinderen gaan op in hun spel. Het geheel straalt rust en geborgenheid uit.
Bronnen:
1. www.rijksmuseum.nl
2. www.vermeerdelft.nl
Meer informatie schilderijen Vermeer
Het glas wijn (1660)
Dit interieur met twee personen is in een perfect perspectief weergegeven. De vrouw is fraai gekleed en drinkt zittend wijn.De man staat bij haar en kijkt haar aan, terwijl hij de wijnkruik vasthoudt, klaar om bij te schenken.Er zijn allerlei voorwerpen te zien die ons ook weer bekend zijn van andere schilderijen: een muziekinstrument, een stoel met Spaanse leren bekleding en een bekroning met leeuwenkop en ten slotte een rechthoekig schilderij-in-een-schilderij aan de wand, als verwijzing naar Vermeers rol als kunsthandelaar.
De tegelvloer is van doorsnee Hollandse stijl en functioneert ook in het perspectief en de ruimtewerking.
Bronnen:
1. Museumgids Rembrandt, Vermeer en Van Gogh, C.J. Kaldenbach
2. www.vermeerdelft.nl
Meer informatie schilderijen Vermeer
zondag 6 februari 2011
Audiotour verrijkt Vermeer Centrum Delft
Het Vermeer Centrum Delft biedt bezoekers vanaf februari 2011 een audiotour aan. Voor € 3,- krijgt de ontmoeting met de Delftse meester van het licht, Johannes Vermeer, zo veel meer betekenis. De audiotour is beschikbaar in het Nederlands, Engels, Duits en Frans. Op 26 plekken in het centrum kan extra achtergrondinformatie worden opgevraagd. De aantrekkelijkheid van het systeem zit hem in het gebruiksgemak en -vrijheid. De bezoeker bepaalt namelijk zelf over welke aspecten extra details gewenst zijn en in welke volgorde.
Meer informatie tentoonstelling Vermeer Centrum
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