Reserve Number: E16 Name: Spitz, Ellen Handler Course: HONR 300 Date Off: End of semester Rosenberg, Jakob and Slive, Seymour . The School of Delft: Jan Vermeer . Dutch Art and Architecture: 1600-1800 . Rosenberg, Jakob, Slive, S.and ter Kuile, E.H. p. 114-123 . Middlesex, England; Baltimore, MD . Penguin Books . 1966, 1972 . Call Number: . ISBN: . The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or electronic reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or electronic reproduction of copyrighted materials that is to be "used for...private study, scholarship, or research." You may download one copy of such material for your own personal, noncommercial use provided you do not alter or remove any copyright, author attribution, and/or other proprietary notice. Use of this material other than stated above may constitute copyright infringement. http://library.umbc.edu/reserves/staff/bibsheet.php?courseID=5869&reserveID=16585[8/18/2016 12:49:46 PM] ~ PART ONE: PAINTING I60o-1675 THE SCHOOL OF DELFT: JAN VERMEER also painted frequently; even the white horse which became Wouwerman's trademark 84) and Vermeer's Geographer (Frankfurt, Stadelschcs Kunstinstitut; Plate 85) em­ is found in Isaack's pictures. It is difficult to say if one of these two Haarlem artists, phasizes the basic differences between Rembrandt and Vermeer. Rembrandt stands out who were almost exact contemporaries (W ouwerman was only two years older than as an extreme individualist; Vermeer is more representative of the Dutch national Isaack), should be given credit for popularizing this theme or if it was the result of their character. The subjects of both works arc similar. Rembrandt's Faustus - the title is joint efforts. questionable4 - shows a scholar at the moment when a supernatural appearance (with Cornelis Bega (1631/2-1664) also studied with Adriaen van Ostade, and worked in definite Christian symbols in it) attracts his attention and causes him to interrupt his his tradition. Bega' s pictures of life in peasant kitchens and taverns sometimes capture work and rise from his desk. The picture by Vermeer represents a geographer who also psychological undercurrents which his teacher missed. His use of chiaroscuro to sil­ stops his work for a moment of meditation. One realizes at once that Rembrandt's houette light figures against a dark background in his etchings is quite original, and conception of a scholar contains supernatural elements, and we are made aware of the the tonality of some of his prints anticipates in a surprising way the effects Goya achieved mysteries inherent in the spiritual world, whereas Vermeer's subject seems to be a in his graphic work. Cornelis Dusart (1660-1704), whose style can be deceptively close perfect representation of an exclusively rational mind. If we want to draw a parallel in to Adriaen van Ostade's light and colourful late manner, must have entered Adriaen's the field of contemporary philosophy, it is a contrast similar to one between Pascal and studio during the last years of the master's life. He is more satirical and coarser than Descartes. With Rembrandt, the light is arbitrary, expressive of a spiritual content Adriaen, and shows a pronounced tendency towards caricature. Dusart worked as an beyond the power of man; the space is subordinated to the chiaroscuro device, and its assistant, helping Ostade to paint his pictures, and after Adriaen' s death he acquired rational construction is less essential than the expression of some deeper emotional con­ some of his teacher's works in progress and finished them. He also completed paintings tent. Something of the dynamic spirit of the Baroque is also inherent in Rembrandt's Isaack van Ostade left unfinished at the time of his death in 1649. These pictures, which chiaroscuro, although here, in his mature style, it is fused with compositional elements were begun at least eleven years before Dusart was born, must have belonged to Adriaen, of a classical character. Vermeer's representation shows, on the other hand, a consistent and they probably fell into Dusart's hands in 1675, when the old Ostade died. They are naturalistic lighting that lends solidity to the form and clarity to the space. The space is an interesting indication of studio practice during a period when the premium on clearly constructed, and the position of every object is crystal-clear. The design lacks originality which later ages insist upon was not yet universally endorsed. any dynamic element. Reason dominates the emotion and keeps the vision under sober control. The moment Vermeer chose in the life of the geographer is a short one, but the transitory aspects have been subdued. Vermeer's composition has become more tectonic, The School of Delft his technique less arbitrary and spontaneous, and his brushwork less personal. The JAN VERMEER Baroque impulses of the preceding generations cooled, not only in Holland, but throughout the continent. Vermeer's picture dates from the period when Poussin was Frans Hals, Rembrandt, and Vermeer, the three greatest painters in Dutch art, follow acknowledged as a leading figure of European painting. each other at intervals of about twenty-five years. One is, therefore, tempted to consider Vermeer owes much in this phase of his art to Carel Fabritius, who is the link between them as representatives of three st1ccessive generations. But only Frans Hals and Vermeer him and Rembrandt. Fabritius' great accomplishment was to transform Rembrandt's can be called typical of their time. Rembrandt, with his introverted and highly spiritual chiaroscuro into a more natural daylight atmosphere. His early work has been discussed character, is unique and cannot be accepted as typical of his generation. Hals, in the above in the chapter on the Rembrandt school, and, as we have already noted, Fabritius first phase of his career, is certainly a strong representative of the gay realism and was one of the rare artists who had enough strength and personality not to succumb to opti1nism characteristic of Holland during the early decades of the century, when the Rembrandt's overwhelming genius. If we compare Rembrandt's lvlan wearing a gilt truce with Spain gave the Netherlands de facto recognition among the family of nations Helmet (Berlin-Dahlem, Staatliche Museen; Plate 45B) with Fabritius' Soldier (Groningen, and the country began to experience a great economic boom by the extension of its Museum; Plate 86B), which was probably painted in the late forties, when Fabritius colonial trade and possessions. At tlut time Dutchmen seemed filled with pride, self­ was not yet completely free from Rembrandt's influence, we can already see great differ­ confidence, and the spirit of action. Vermeer's art reflects the happiness and the self­ ences. Fabritius is more interested in surface treatment than in spiritual depth and the contained character of the Dutch bourgeoisie after their aggressive spirit had somewhat exploration of meditative and introvert moods - though in the final analysis, it is calmed down, and they began to relax and enjoy the fruits of their fathers' and grand­ Rembrandt, not Fabritius, who attains the richest pictorial effects. Rembrandt's mastery fathers' activities. Dutch life shortly after the middle of the c~:-itury is distinguished by a of what could be achieved by juxtaposing passages of heavy impasto with thin glazes of quiet, peaceful and domestic atmosphere which Vermeer, better than anyone else, oil paint was never matched. Fabritius, even when he is close to Rembrandt, has a depicted in his beautiful interiors. flatter and less complex treatment and shows a tendency to lighten his backgrounds. A comparison of Rembrandt's etching called Dr Faustus (c. 1650-2; Bartsch 270; Plate His interest in the atmospheric effects of clear daylight and his luminous tonality become II4- II5 ·..,--- }.~' ) PART ONE: PAINTING 1600-1675 THE SCHOOL OF DELFT: JAN VERMEER 6 more dominant after he settles in Delft around 1650, but he always retains, in his life­ of 1668 (Paris, private collection; Plate 87B). There is no graphic work to which size as well as his tiny pictures, the breadth and quality of Rembrandt's mature work. one can tum; as far as we know he made no prints, and no drawings can be ascribed Very few of Fabritius' works have survived. Perhaps many were destroyed in 1654, to him with certainty. Not a single letter or note written by Vermeer has survived, the year he himself tragically perished in a gunpowder explosion which devastated and contemporary sources tell us little. Dirck van Bleyswijck, who published the much of Delft. His little View of Delft (1652, London, National Gallery), which was voluminous Beschryvinge dcr Stadt Delft in 1667, when V crmecr was at the height of his probably a panel for a peep show, manifests his interest in perspective effects, an interest powers, mentions him only briefly, but in complimentary terms. In the section on the which Vermeer shared during much of his career. The Goldfinch (The Hague, Maurits­ artists of Delft this local chronicler noted the year of Vermeer's birth. Nothing more. huis; Plate 86A) and the Soldier sitting 011 a Bench (Schwerin, Staatliches Museum), both Van Bleyswijck docs, however, publish a section on Carel Fabritius, the Phoeni.,, who painted in the year of his death, are a premonition of Vermeer's best qualities in the fine, was snatched from life and fame in 1654 by the 'Delft Thunderclap', and adds that cool harmony of colours as well as the sense of classic composition and the firm handling lucky Delft has Vermeer, 'who masterly his path doth tread'. Houbraken, the major of the brush.