Download the Music Lesson Free Ebook

Total Page:16

File Type:pdf, Size:1020Kb

Download the Music Lesson Free Ebook THE MUSIC LESSON DOWNLOAD FREE BOOK Victor L. Wooten | 275 pages | 01 Oct 2015 | Penguin Putnam Inc | 9780425220931 | English | New York, NY, United States The Music Lesson, 1665 by Johannes Vermeer Sign In. Light fills this scene and can be seen between the roof beams, between the strings of the viol and in the folds of the fabric. Torn between art The Music Lesson politics, The Music Lesson remains true to her real values in a surprising ending. Stay in Touch Sign up. I thought "Woah Victor Wooten wrote a book! Crazy Credits. Later, I was obviously very curious on how Michael did this, so I asked him. Victor is a young, struggling bassist who can't even pay his rent. His personality really comes through in this story to the point that I found myself wishing that he and the main character whom he created in this story were in our circle of friends. Official Sites. Books by Katharine Weber. He asks her for advice in carrying out the heist of a fictional small Vermeer painting, "The Music The Music Lesson, for ransom. Needless to say, what got me out of the plateau was not their input, but putting more The Music Lesson into my practice and addressing the gaps in my The Music Lesson. Keeping a record of a crime is stupid enough, but when you read her motives - the love of Irish roots, the death of a child, somehow culminating in her relationship with an IRL think IRA member - it only makes The Music Lesson think what a pathetic and piti Terrible. View 1 comment. A very fast read but worth it for some insightful, thought-provoking comments. Read it Forward Read it first. Mostly because I like the bass guitar, and am a fan of Victor. Baroque paintingDutch Golden Age painting. Pieter van Winter, Amsterdam died [according to Priem on the basis of a drawing from the Praetorius Album by Pieter Ernst Hendrik Praetorius in the Six Collection, Amsterdam showing the contents of the van Winter Collection]; by descent to his heirs until the division of his property inwhen it was assigned to the portion of his daughter The Music Lesson Johanna van Winter [according to Priem ]. This is particularly obvious in The Music Lesson. A theme of the book is "If you truly listen for music, She will listen for you. Edit Translate Action History. This book combines an art heist, the IRA, and some Irish histoy all in one. I asked these accomplished musicians for advice, but received meaningless generalities with no specifics on their application - "just play the notes man", "just feel the groove", "I've always known how to sing" - and in asking for detail I was told I was missing the point and overthinking it. This spiritual and metaphoric way of teaching will be appealing to many The Music Lesson readers though. The Music Lesson fact, I found the plot secondary to the inner thoughts of Patricia, the Patricial Dolan is a woman in living in pain - her marriage is over after her daughter is killed in a car accident and she no longer knows The Music Lesson to connect with people to move on in the aftermath. Is the stuff being taught worthwhile? I learned so much on every level. It offers to change the way the reader thinks about music in every way, shape, and form. I had been a passable metal guitarist for around a decade, practising just enough to keep up with my bands and knowing the minor scale just enough to kludge together a riff or a solo, but very aware of my musical limitations. RKDimages ID : It's a The Music Lesson hard to describe. Elvis Costello. Click Image to view detail. Music & Arts is the #1 provider of music lessons nationwide Views Read Edit View history. Fortunately for us, she spends most of the book alone in a cabin in Ireland in January with just her thoughts and a notebook. More Details I am moved by the still place on the horizon where the sky begins. Vermeer painted the table cover with a variety of layers over a basic ocher layer he applied the blues, yellows, reds, and oranges that combine to form the pattern of the design. And in the passage of the reflection in The Music Lesson we have a beginning of the deliberate and marvelous style which The Music Lesson the latter half of his work. The Music Lesson C. Jan Vermeer London,p. The power to move the soul claimed by the motto on music's behalf lies The Music Lesson the nature both of music and of the soul as perceived in antiquity The Music Lesson in the renaissance. Similarly, the blue fringe of the chair cover has a bumpy texture. Technical Specs. Edit Translate The Music Lesson History. Average rating 3. The Music Lesson is a mature work of Vermeer and his handling of color and The Music Lesson choice of painting materials [7] is but one of the aspects proving his mastery. Rijksmuseum, Amsterdam. Several painters must owe the form to Vermeer's example. Johannes Vermeer. Vermeer inserts various other instruments to reinforce a The Music Lesson theme, such as the viol on the floor. The Collection Artworks Writings Resources. In fact, I found the plot secondary to the inner thoughts of Patricia, the descriptions of the Vermeer, and life in the beautifully desolate Irish village created by Weber. The Art of Painting. More than one of them use it, as does Pieter Janssens Ellinga with delicate effect, to reflect the bold pattern of a tiled floor. The film's claim that Vermeer used something similar to Jenison's technique has been derided by art critics Jonathan Jones and Bendor Grosvenor. For a little book pagesit packed alot in with a surprising good punch; had a solid ending with more reveals and secrets that I really did not see coming. The painting is dominated by dark areas such as the The Music Lesson floor painted in bone black with the addition The Music Lesson natural ultramarine. The Music Lesson Girl with a Earl Earring. The motto also decorates virginals in paintings by Pieter Codde —Gonzales Coques — and Karel Slabbaert c. The general scheme of composition recalls Leiden and such parties round the virginal were a subject of the genre painters of Haarlem. The vividness of the scene is also created by the textural effects evident in the painting. Oxford Paperbacks; New Ed edition, Thanks for telling us about the problem. A quick and interesting read. At the same time, the inclusion of the infant added a The Music Lesson level of meaning to the story as the three figures would represent the three generations and could therefore also be interpreted as an allegory of the three ages of man. The windows are defined by soft brown ochres that are tinted. This particular piece of art is loaned out rarely by the National Gallery of London for special showings. Technical examinations have revealed that Vermeer initially painted the man slightly closer to the girl and then repainted his form in its present position. About Katharine Weber. Oil on canvas. Susan S. Similar still-lives of musical instruments often furnished the foregrounds of both schools. The Music Lesson Here, as in his music, he surprises us and gives us more depth than we expected, more of himself than many would dare. The Music Lesson is full of insights like that. The painting was officially attributed to Jan Vermeer in an exhibition at the Royal Academy in London. Although Vermeer held nothing original in his artistic interpretation and subject matter, he was extremely skilled in creating superb pieces of art. In The Music Lesson book I've written ab That's a great comment about the importance of listening The Music Lesson music as opposed to The Music Lesson it as a backdrop for something else!! While seriously committed to the disciplines of notes and rhythms, he, like the voice in Wooten's book, never lets his students forget that music is magic. Oil on canvas. View of Delft. Prince: The Last Interview. Sorry Linds! She was for seven years the Richard L. Overall it was The Music Lesson good read. Nov 13, Dawn Lennon rated it it was amazing Shelves: musicnon-fiction. From To. And this book? And the ones who were assigned to read it will likely get something out of it, so fine, give this book to your serious late-teens music student who is just learning how to have deep thoughts. Triangle and The Music Lesson are The Music Lesson available as ebooks, too. Looking forward to reading her other 5 books. Then there are times when this book seems profound and simple. Photos Add Image Add an image Do you have The Music Lesson images for this title? The misidentification was a result of a wrong reading of the signature. Royal CollectionLondon. Enlarge cover. Vermeer and His World: The Music Lesson is the story of a struggling young musician who wanted music to be his life, and who wanted his life to be great. I learned so much on every level. It's one of those books that you'll probably either like or you won't, with no in between. Rate This. Wooten has some valuable tips to The Music Lesson but I found his advice diluted by the corny New Age framing story. The audiobook is narrated by Victor Wooten and a cast of several actors. Michael used it The Music Lesson the time, mostly to creep me out.
Recommended publications
  • 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’.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Johannes Vermeer : a Generative Artist ? So What ? Courchia Jean Paul, MD Saint Joseph’S Hospital, Dpt of Ophthalmology
    Johannes Vermeer : A generative artist ? So What ? Courchia Jean Paul, MD Saint Joseph’s Hospital, Dpt of Ophthalmology. Marseille. France e-mail : [email protected] Guigui Sarah Department of Internal Medicine, North Shore LIJ at Forest Hills Hospital. Courchia Emmanuel Department of Psychology, Queens College at CUNY. Johannes Vermeer was a Dutch artist born in Delft (the Netherlands) on October 31th 1632, and died on December 16th 1675 at the age of 43 years old. Over the course of his life he was a successful painter locally around Delft and The Hague, but this modest celebrity was soon forgotten after his death. He painted only few paintings of which only 36 are known to date. His paintings are often thought to be small but in reality are of varying sizes from 160 cm to 20 cm in greatest dimension. What is interesting is that they are sometimes at the same (or almost) dimensions. Especially in the series of interiors with the light coming through a window on the left, it is possible that the size’s choice is not only linked to the fact that Vermeer use standard sizes. It is not until 1866 that Vermeer becomes familiar with global fame. Thanks to Theophile Thore-Burger, a French journalist, whose art critic column propelled Vermeer onto the international scene. In 1842 when he saw the View of Delft in the Mauritshuis of The Hague and became an instant fan of the duct painter. He helped Vermeer’s notoriety by publishing an essay attributing 66 works to the painter although 34 are universally attributed to him.
    [Show full text]
  • Thoughts About Paintings Conservation This Page Intentionally Left Blank Personal Viewpoints
    PERSONAL VIEWPOINTS Thoughts about Paintings Conservation This page intentionally left blank Personal Viewpoints Thoughts about Paintings Conservation A Seminar Organized by the J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Research Institute at the Getty Center, Los Angeles, June 21-22, 2001 EDITED BY Mark Leonard THE GETTY CONSERVATION INSTITUTE LOS ANGELES & 2003 J- Paul Getty Trust THE GETTY CONSERVATION INSTITUTE Getty Publications 1200 Getty Center Drive, Suite 500 Timothy P. Whalen, Director Los Angeles, CA 90049-1682 Jeanne Marie Teutónico, Associate Director, www.getty.edu Field Projects and Science Christopher Hudson, Publisher The Getty Conservation Institute works interna- Mark Greenberg, Editor in Chief tionally to advance conservation and to enhance Tobi Levenberg Kaplan, Manuscript Editor and encourage the preservation and understanding Jeffrey Cohen, Designer of the visual arts in all of their dimensions— Elizabeth Chapín Kahn, Production Coordinator objects, collections, architecture, and sites. The Institute serves the conservation community through Typeset by G&S Typesetters, Inc., Austin, Texas scientific research; education and training; field Printed in Hong Kong by Imago projects; and the dissemination of the results of both its work and the work of others in the field. Library of Congress In all its endeavors, the Institute is committed Cataloging-in-Publication Data to addressing unanswered questions and promoting the highest possible standards of conservation Personal viewpoints : thoughts about paintings practice. conservation : a seminar organized by The J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Research Institute at the Getty Center, Los Angeles, June 21-22, 2001 /volume editor, Mark Leonard, p.
    [Show full text]
  • Reserve Number: E16 Name: Spitz, Ellen Handler Course: HONR 300 Date Off: End of Semester Rosenberg, Jakob and Slive, Seymour
    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.
    [Show full text]
  • Vermeer As Aporia: Indeterminacy, Divergent Narratives, and Ways of Seeing
    Munn Scholars Awards Undergraduate Research 2020 Vermeer as Aporia: Indeterminacy, Divergent Narratives, and Ways of Seeing Iain MacKay Follow this and additional works at: https://researchrepository.wvu.edu/munn Part of the History of Art, Architecture, and Archaeology Commons Vermeer as Aporia: Indeterminacy, Divergent Narratives, and Ways of Seeing Iain MacKay Senior Thesis Written in partial fulfillment of the Bachelor of Arts in Art History April 23, 2020 Copyright 2020, Iain MacKay ABSTRACT Vermeer as Aporia: Indeterminacy, Divergent Narratives, and Ways of Seeing Iain MacKay Although Johannes Vermeer’s paintings have long been labelled “ambiguous” in the canon of Western Art History, this research aims to challenge the notion of ambiguity. By shifting the conception of Vermeer’s works from ambiguity to indeterminacy, divergent narratives emerge which inform a more complex understanding of Vermeer’s oeuvre. These divergent narratives understand Vermeer’s paintings as turning points in stories that extend beyond the canvas; moments where the possibilities of a situation diverge in different directions. Thus, a myriad of narratives might be contained in a single painting, all of which simultaneously have the possibility of existing, but not the actuality. This interpretation of Vermeer takes evidence from seventeenth-century ways of seeing and the iconographic messages suggested by the paintings within paintings that occur across Vermeer’s oeuvre. Here for the first time, an aporetic approach is utilized to explore how contradictions and paradoxes within a system serve to contribute to holistic meaning. By analyzing four of Vermeer’s paintings – The Concert, Woman Holding a Balance, The Music Lesson, and Lady Seated at a Virginal – through an aporetic lens, an alternative to ambiguity can be constructed using indeterminacy and divergent narratives that help explain compositional and iconographical choices.
    [Show full text]
  • Meet the Masters Johannes Vermeer
    Meet The Masters Johannes Vermeer • October 1632 --- December 1675 • Dutch painter who lived and worked in Delft • Created some of the most exquisite paintings in Western art. • His works are rare. • He is known to have done only 35 or 36 paintings • Most portray figures inside. • All show light and color The Netherlands Delft China Family History • He began his career in the arts when his father died and Vermeer inherited the family art dealing business. • He continued to work as an art dealer even after he had become a respected painter because he needed the money. Married • Vermeer married a Catholic woman named Catharina Bolnes, even though he was a Protestant. • Catholics in Delft lived in a separate neighborhood than the Protestants and the members of the two religions did not usually spend much time together A Big Family! • Vermeer and his wife had 14 children but not nearly enough money to support them all. Catharina’s mother gave them some money and let the family live with her but Vermeer still had to borrow money to feed his children Patron • Patron: someone who supports the arts • Pieter van Ruijven, one of the richest men in town, became Vermeer’s patron. • He bought many of Vermeer’s paintings and made sure he had canvas, paints, and brushes so he could work. • Having a patron meant that Vermeer could use the color blue in his paintings, a very expensive color in the 1600s because it was made out of the semi-precious stone, lapis lazuli. Not Famous Until Later • After his death Vermeer was overlooked by all art collectors and art historians for more than 200 years.
    [Show full text]
  • The Music Lesson: an Analysis of Two Works from Dutch Seventeenth Century
    Bard College Bard Digital Commons Senior Projects Spring 2018 Bard Undergraduate Senior Projects Spring 2018 The Music Lesson: An Analysis of Two Works from Dutch Seventeenth Century Valory Hight Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2018 Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Art Practice Commons, Music Education Commons, Music Pedagogy Commons, and the Theory and Criticism Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Hight, Valory, "The Music Lesson: An Analysis of Two Works from Dutch Seventeenth Century" (2018). Senior Projects Spring 2018. 284. https://digitalcommons.bard.edu/senproj_s2018/284 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. The Music Lesson: An Analysis of Two Works from Dutch Seventeenth Century Senior Project Submitted to The Division of Arts of Bard College by Valory Hight Annandale-on-Hudson, New York May 2018 Acknowledgements My advisors,
    [Show full text]
  • Decades Later, Someone Painted Over Part of This Famous Painting
    Decades later, someone painted over part of this famous painting. The 17th-century Dutch artist Johannes Vermeer — yo-HAHN-ness vehr-MEAR — is considered one of the greatest painters of all time. And for centuries, people have considered “Girl Reading a Letter at an Open Window” one of his best paintings. It has the rich colors and the wonderful lighting we associate with Vermeer. And although the painting seems simple, it is actually filled with mystery. We do not know what is in the letter the girl is reading. But at the time, viewers would have known that the peaches on the table represented the human heart. And the open window seems to suggest that the subject is longing to escape from (or to) something. “Girl Reading a Letter at an Open Window” belongs to the Old Masters Picture Gallery in Dresden, Germany. But the version we are familiar with is not exactly the one Johannes Vermeer painted. Four decades ago, art experts x-rayed this painting. They learned that the back wall once contained a large portrait of a Cupid. Cupid was the Roman god of love, often shown as a baby with a bow and arrow. The art experts assumed that Vermeer himself painted over the Cupid for artistic reasons. But when they looked closer, they saw a very thin layer of dirt. After analyzing this dirt, they realized that someone else must have done the repainting several decades later, after the artist was already dead. The museum hired art restorers to carefully take off this layer of paint.
    [Show full text]
  • 'Vermeer Illuminated' To
    Vandivere et al. Herit Sci (2019) 7:66 https://doi.org/10.1186/s40494-019-0307-5 REVIEW Open Access From ‘Vermeer Illuminated’ to ‘The Girl in the Spotlight’: approaches and methodologies for the scientifc (re-) examination of Vermeer’s Girl with a Pearl Earring Abbie Vandivere1* , Jørgen Wadum2, Klaas Jan van den Berg3, Annelies van Loon1,4 and The Girl in the Spotlight research team Abstract Girl with a Pearl Earring by Johannes Vermeer (c. 1665) is the most beloved painting in the collection of the Mauritshuis in The Hague, The Netherlands. The Girl was last examined during a 1994 restoration treatment, within the project Vermeer Illuminated. Conservators and scientists investigated the material composition and condition of the painting using the analytical and scientifc means that were available at the time: technical photography (visible light, ultravio- let fuorescence, and infrared), X-radiography, and stereomicroscopy. To understand the build-up of the paint layers, they investigated paint samples, often mounted as cross-sections. Their results were published in the book Vermeer Illuminated (1994), and as a chapter in Vermeer Studies (1998). This paper reviews the results published in the 1990s and considers them in light of a recent research project, where new fndings were made possible by advances in non-invasive imaging, chemical analysis and data science. The project The Girl in the Spotlight is a Mauritshuis initia- tive, and involves a team of internationally recognised specialists working within the collaborative framework of the Netherlands Institute for Conservation Art Science (NICAS), with some scientists from other institutions. In 2018, the painting was examined in front of museum+ + visitors+ at the Mauritshuis.
    [Show full text]