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Setting up the Palette by Carole Greene
Setting Up the Palette by Carole Greene De Anza College Cupertino, California Manuscript Preparation: D’Artagnan Greene Cover Photo: Hotel Johannes Vermeer Restaurant, Delft, Holland © 2002 by Bill Greene ii Copyright © 2002 by Carole Greene ISBN X-XXXX-XXXX-X All rights reserved. No part of this book may be reproduced in any form whatsoever, by photography or xerography or by any other means, by broadcast or transmission, by translation into any kind of language, nor by recording electronically or otherwise, without permission in writing from the publisher, except by a reviewer, who may quote brief passages in critical articles or reviews. Printed in the United States of America. X X X X X X X X X X Address orders to: XXXXXXXXXXX 1111 XXXX XX XXXXXX, XX 00000-0000 Telephone 000-000-0000 Fax 000-000-0000 XXXXX Publishing XXXXXXXXXXXXXXXXXXXXXXXX iii TABLE OF CONTENTS FOREWORD ix CHAPTER 1- Mastering the Tools 1 An Overview 3 The Clause 15 The Simple Sentence 17 The Verb Check 21 Items in a Series 23 Inverted Clauses and Questions 29 Analyzing a Question 33 Exercise 1: Locate Subjects and Verbs in Questions 35 Exercise 2: Locate Verbs in Simple Sentences 37 Exercise 3: Locate Subjects in Simple Sentences 47 Exercise 4: Locate Subjects and Verbs in Simple Sentences 55 iv The Need to Change Reading Habits 69 The Phrase 71 A Phrase Versus a Clause 73 Prepositional Phrases 75 Common Single Word Prepositions 77 Group Prepositions 78 Developing a Memory System 79 Memory Facts 81 Analyzing the Function of Prepositional Phrases 83 Exercise 5: Locating -
Interiors and Interiority in Vermeer: Empiricism, Subjectivity, Modernism
ARTICLE Received 20 Feb 2017 | Accepted 11 May 2017 | Published 12 Jul 2017 DOI: 10.1057/palcomms.2017.68 OPEN Interiors and interiority in Vermeer: empiricism, subjectivity, modernism Benjamin Binstock1 ABSTRACT Johannes Vermeer may well be the foremost painter of interiors and interiority in the history of art, yet we have not necessarily understood his achievement in either domain, or their relation within his complex development. This essay explains how Vermeer based his interiors on rooms in his house and used his family members as models, combining empiricism and subjectivity. Vermeer was exceptionally self-conscious and sophisticated about his artistic task, which we are still laboring to understand and articulate. He eschewed anecdotal narratives and presented his models as models in “studio” settings, in paintings about paintings, or art about art, a form of modernism. In contrast to the prevailing con- ception in scholarship of Dutch Golden Age paintings as providing didactic or moralizing messages for their pre-modern audiences, we glimpse in Vermeer’s paintings an anticipation of our own modern understanding of art. This article is published as part of a collection on interiorities. 1 School of History and Social Sciences, Cooper Union, New York, NY, USA Correspondence: (e-mail: [email protected]) PALGRAVE COMMUNICATIONS | 3:17068 | DOI: 10.1057/palcomms.2017.68 | www.palgrave-journals.com/palcomms 1 ARTICLE PALGRAVE COMMUNICATIONS | DOI: 10.1057/palcomms.2017.68 ‘All the beautifully furnished rooms, carefully designed within his complex development. This essay explains how interiors, everything so controlled; There wasn’t any room Vermeer based his interiors on rooms in his house and his for any real feelings between any of us’. -
Girl with a Pearl Earring by Tracy Chevalier
2 Go Girl with a Pearl Earring by Tracy Chevalier Discussion Questions 1. Do you think Griet was typical of other girls her age? In what ways? How did she differ? Did you find her compassionate or selfish? Giving or judgmental? 2. In many ways, the primary relationship in this novel appears to be between Griet and Vermeer. Do you think this is true? How do you feel about Vermeer's relationship with his wife? How does that come into play? 3. Peering into 17th century Delft shows a small, self-sufficient city. Where do you think the many-pointed star at the city's center pointed toward? What was happening elsewhere at that time? 4. Discuss the ways religion affected Griet's relationship with Vermeer. His wife? Maria Thins? Mount Laurel Library 100 Walt Whitman Ave., Mount Laurel, NJ 08054 856-234-7319 www.mtlaurel.lib.nj.us Girl with a Pearl Earring by Tracy Chevalier Discussion Questions continued 5. Maria Thins obviously understood Vermeer's art more than his wife did. Why do you think this was the case? Do you think she shared Griet's talents? 6. Do you think Griet made the right choice when she married the butcher's son? Did she have other options? 7. How is Delft different to or similar to your town or city? Are the social structures comparable? 8. Though Girl with a Pearl Earring appears to be about one man and woman, there are several relationships at work. Which is the most difficult relationship? Which is the most promising? Questions taken permission from ReadingGroupGuides.com. -
S40494-020-00364-5 Publication Date 2020 Document Version Final Published Version Published in Heritage Science
Delft University of Technology Out of the blue Vermeer’s use of ultramarine in Girl with a Pearl Earring van Loon, Annelies; Gambardella, Alessa A.; Gonzalez, Victor; Cotte, Marine; De Nolf, Wout; Keune, Katrien; Leonhardt, Emilien; de Groot, Suzan; Proaño Gaibor, Art Ness; Vandivere, Abbie DOI 10.1186/s40494-020-00364-5 Publication date 2020 Document Version Final published version Published in Heritage Science Citation (APA) van Loon, A., Gambardella, A. A., Gonzalez, V., Cotte, M., De Nolf, W., Keune, K., Leonhardt, E., de Groot, S., Proaño Gaibor, A. N., & Vandivere, A. (2020). Out of the blue: Vermeer’s use of ultramarine in Girl with a Pearl Earring. Heritage Science, 8(1). https://doi.org/10.1186/s40494-020-00364-5 Important note To cite this publication, please use the final published version (if applicable). Please check the document version above. Copyright Other than for strictly personal use, it is not permitted to download, forward or distribute the text or part of it, without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license such as Creative Commons. Takedown policy Please contact us and provide details if you believe this document breaches copyrights. We will remove access to the work immediately and investigate your claim. This work is downloaded from Delft University of Technology. For technical reasons the number of authors shown on this cover page is limited to a maximum of 10. van Loon et al. Herit Sci (2020) 8:0 https://doi.org/10.1186/s40494-020-00364-5 RESEARCH ARTICLE Open Access Out of the blue: Vermeer’s use of ultramarine in Girl with a Pearl Earring Annelies van Loon1,2* , Alessa A. -
Two Artists: Vermeer's Forger
Two Artists: LEVELED BOOK • R Vermeer’s Forger Two Artists: A Reading A–Z Level R Leveled Book Word Count: 1,147 Vermeer’s Forger Written by Dina Anastasio www.readinga-z.com Visit www.readinga-z.com for thousands of books and materials. Photo Credits: Front cover: © Andy Shaw/Bloomberg News/Landov; back cover: © Staatliche Kunstsammlungen Dresden/The Bridgeman Art Library; title page, pages 6 (top), 12 (bottom), 18: © Francis G. Mayer/Corbis; page 4: © Mauritshuis, The Hague, The Netherlands/Giraudon/The Bridgeman Art Library International; page 5 (all): Two Artists: © Mary Evans Picture Library; pages 6 (bottom), 17 (bottom): © The Bridgeman Art Library International; page 7: scan of The Century, Vol 50, Issue 6 (Oct. 1895)/courtesy of Cornell University Library, Making of America Digital Collection; page 8: © SuperStock; pages 9, 19: © The Bridgeman Art Library; page 10: © REUTERS/Jasper Juinen; page 11: photo by M.M. Couvée, courtesy of The Netherlands Institute of Art History (RKD); page 12 (top): © National Gallery Vermeer’s Forger Collection; by kind permission of the Trustees of the National Gallery, London/ Corbis; page 13: © ullstein bild/The Granger Collection, New York; page 14: © Bettmann/Corbis; pages 15, 17 (top): © The Granger Collection, New York; page 16: © Michael Boys/Corbis Two Artists: Vermeer’s Forger Level R Leveled Book Correlation Written by Dina Anastasio © Learning A–Z LEVEL R Written by Dina Anastasio Fountas & Pinnell N All rights reserved. Reading Recovery 30 www.readinga-z.com www.readinga-z.com DRA 30 Table of Contents Great Masters ...................................................... 4 Van Meegeren’s First Paintings ....................... -
The Drawings of Cornelis Visscher (1628/9-1658) John Charleton
The Drawings of Cornelis Visscher (1628/9-1658) John Charleton Hawley III Jamaica Plain, MA M.A., History of Art, Institute of Fine Arts – New York University, 2010 B.A., Art History and History, College of William and Mary, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art and Architectural History University of Virginia May, 2015 _______________________________________ _______________________________________ _______________________________________ _______________________________________ Table of Contents Abstract ............................................................................................................................................. i Acknowledgements.......................................................................................................................... ii Introduction ..................................................................................................................................... 1 Chapter 1: The Life of Cornelis Visscher .......................................................................................... 3 Early Life and Family .................................................................................................................... 4 Artistic Training and Guild Membership ...................................................................................... 9 Move to Amsterdam ................................................................................................................. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
ARTIST Is in Caps and Min of 6 Spaces from the Top to Fit in Before Heading
FRANS VAN MIERIS the Elder (1635 – Leiden – 1681) A Self-portrait of the Artist, bust-length, wearing a Turban crowned with a Feather, and a fur- trimmed Robe On panel, oval, 4½ x 3½ ins. (11 x 8.2 cm) Provenance: Jan van Beuningen, Amsterdam From whom purchased by Pieter de la Court van der Voort (1664-1739), Amsterdam, before 1731, for 120 Florins (“door myn vaader gekofft van Jan van Beuningen tot Amsterdam”) In Pieter de la Court van der Voort’s inventory of 1731i His son Allard de la Court van der Voort, and in his inventories of 1739ii and 1749iii His widow, Catherine de la Court van de Voort-Backer Her deceased sale, Leiden, Sam. and Joh. Luchtmans, 8 September 1766, lot 23, for 470 Florins to De Winter Gottfried Winkler, Leipzig, by 1768 Probably anonymous sale, “Twee voornamen Liefhebbers” (two distinguished amateurs), Leiden, Delfos, 26 August 1788, lot 85, (as on copper), sold for f. 65.5 to Van de Vinne M. Duval, St. Petersburg (?) and Geneva, by 1812 His sale, London, Phillips, 12 May 1846, lot 42 (as a self-portrait of the artist), sold for £525 Anonymous sale, London, Christie’s, 21 February 1903, lot 80, (as a self-portrait of the artist) Max and Fanny Steinthal, Charlottenburg, Berlin, by 1909, probably acquired in 1903 Thence by descent to the previous owner, Private Collection Belgium, 2012 Exhibited: Berlin, Köningliche Kunstakademie, Illustrierter Katalog der Ausstellung von Bildnissen des fünfzehnten bis achtzehnten Jahrhunderts aus dem Privatbesitz der Mitglieder des Vereins, 31 March – 30 April 1909, cat. -
Masterpieces of Dutch Painting from the Mauritshuis October 22, 2013, Through January 19, 2014
Vermeer, Rembrandt, and Hals: Masterpieces of Dutch Painting from the Mauritshuis October 22, 2013, through January 19, 2014 The Frick Collection, New York PRESS IMAGE LIST Digital images are available for publicity purposes; please contact the Press Office at 212.547.6844 or [email protected]. 1. Frans Hals (1581/1585–1666) Portrait of Jacob Olycan (1596–1638), 1625 Oil on canvas 124.8 x 97.5 cm Mauritshuis, The Hague 2. Frans Hals (1581/1585–1666) Portrait of Aletta Hanemans (1606–1653), 1625 Oil on canvas 123.8 x 98.3 cm Mauritshuis, The Hague 3. Rembrandt van Rijn (1606–1669) Simeon’s Song of Praise, 1631 Oil on panel (rounded at the upper corners) 60.9 x 47.9 cm Mauritshuis, The Hague 4. Pieter Claesz Vanitas Still Life, 1630 Oil on panel 39.5 x 56 cm Mauritshuis, The Hague 5. Rembrandt van Rijn (1606–1669) “Tronie” of a Man with a Feathered Beret, c. 1635 Oil on panel 62.5 x 47 cm Mauritshuis, The Hague 6. Rembrandt van Rijn (1606–1669) Susanna, 1636 Oil on panel 47.4 x 38.6 cm Mauritshuis, The Hague 7. Nicolaes Maes The Old Lacemaker, c. 1655 Oil on panel 37.5 x 35 cm Mauritshuis, The Hague 8. Carel Fabritius (1622–1654) The Goldfinch, 1654 Oil on panel 33.5 x 22.8 cm Mauritshuis, The Hague 9. Gerard ter Borch (1617–1681) Woman Writing a Letter, c. 1655 Oil on panel 39 x 29.5 cm Mauritshuis, The Hague 10. Jan Steen (1626–1679) Girl Eating Oysters, c. -
Girl with a Flute
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Attributed to Johannes Vermeer Johannes Vermeer Dutch, 1632 - 1675 Girl with a Flute probably 1665/1675 oil on panel painted surface: 20 x 17.8 cm (7 7/8 x 7 in.) framed: 39.7 x 37.5 x 5.1 cm (15 5/8 x 14 3/4 x 2 in.) Widener Collection 1942.9.98 ENTRY In 1906 Abraham Bredius, director of the Mauritshuis in The Hague, traveled to Brussels to examine a collection of drawings owned by the family of Jonkheer Jan de Grez. [1] There he discovered, hanging high on a wall, a small picture that he surmised might be by Vermeer of Delft. Bredius asked for permission to take down the painting, which he exclaimed to be “very beautiful.” He then asked if the painting could be exhibited at the Mauritshuis, which occurred during the summer of 1907. Bredius’ discovery was received with great acclaim. In 1911, after the death of Jonkheer Jan de Grez, the family sold the painting, and it soon entered the distinguished collection of August Janssen in Amsterdam. After this collector’s death in 1918, the painting was acquired by the Amsterdam art dealer Jacques Goudstikker, and then by M. Knoedler & Co., New York, which subsequently sold it to Joseph E. Widener. On March 1, 1923, the Paris art dealer René Gimpel recorded the transaction in his diary, commenting: “It’s truly one of the master’s most beautiful works.” [2] Despite the enthusiastic reception that this painting received after its discovery in the first decade of the twentieth century, the attribution of this work has frequently Girl with a Flute 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century been brought into question by later scholars. -
The R U T G E R S a R T R E V I E W Published Annually by the Students
The RUTGERS ART REVIEW Published Annually by the Students of the Graduate Program in Art History at Rutgers, The State University of New Jersey 1991-1992 Volume XII-XI1I Co-Editors, Volume 12: Scott Montgomery Elizabeth Vogel Editorial Board, Volume 12: Marguerite Barrett Arnold Victor Coonin David Foster Cheryl Kramer Stephanie Smith Faculty Advisor, Volume 12: Professor Matthew Baigell Editor, Volume 13: Marguerite Barrett Editorial Board, Volume 13: Shelly Adams Sheilagh Casey Arnold Victor Coonin Pamela Cohen Joanna Gardner Cheryl Kramer Stephanie Smith Faculty Advisor, Volume 13: Archer St Clair Harvey Consulting Editors Volume 12 and 13: Caroline Goeser Priscilla Schwarz Advisory Board, Volume 12 and 13: Patricia Fortini Brown, Princeton University Phillip Dennis Cate, Jane Voorhees Zimmerli Museum Joseph Connors, American Academy in Rome Patricia Leighten, University of Delaware Constance Lowenthal, International Foundation for Art Research David G. Wilkins, University of Pittsburgh Benefactors ($1,000 or more) The Graduate School, Rutgers, The State University of New Jersey The Graduate Student Association, Rutgers, The State University of New Jersey The Johnson and Johnson Family of Companies Contributors ($100 or more) Rona Goffen Supporters ($50 or more) Shelly Adams and Edgar Morales Matthew and Ren6e Baigell Catherine Puglisi and William Barcham Daniel and Patricia Sheerin Friends ($25 or more) Charles L. Barrett III M. B. Barrett Alice A. Bauer Arnold Victor Coonin Marianne Ficarra Donald Garza Marion Husid Tod Marder Joan Matter Brooke Kamin Rapaport Claire Renkin Stephen A. Somers, with an Employer Match Donation from the Robert Wood Johnson Foundation Jack Spector David and Ann Wilkins The following persons generously donated funds to Volume 11 of the Rutgers Art Review. -
Dutch Art, 17Th Century
Dutch Art, 17th century The Dutch Golden Age was a period in the history of the Netherlands, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. The first section is characterized by the Thirty Years' War, which ended in 1648. The Golden Age continued in peacetime during the Dutch Republic until the end of the century. The transition by the Netherlands to the foremost maritime and economic power in the world has been called the "Dutch Miracle" by historian K. W. Swart. Adriaen van Ostade (1610 – 1685) was a Dutch Golden Age painter of genre works. He and his brother were pupils of Frans Hals and like him, spent most of their lives in Haarlem. A01 The Painter in his Workshop 1633 A02 Resting Travelers 1671 David Teniers the Younger (1610 – 1690) was a Flemish painter, printmaker, draughtsman, miniaturist painter, staffage painter, copyist and art curator. He was an extremely versatile artist known for his prolific output. He was an innovator in a wide range of genres such as history, genre, landscape, portrait and still life. He is now best remembered as the leading Flemish genre painter of his day. Teniers is particularly known for developing the peasant genre, the tavern scene, pictures of collections and scenes with alchemists and physicians. A03 Peasant Wedding 1650 A04 Archduke Leopold Wilhelm in his gallery in Brussels Gerrit Dou (1613 – 1675), also known as Gerard and Douw or Dow, was a Dutch Golden Age painter, whose small, highly polished paintings are typical of the Leiden fijnschilders.