Vermeer and the Delft School

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Fig. r68. Johannes Vermeer, The Music Lesson (A Woman at the Viwinal with a Gentleman), ca. 1662-63. Oil on canvas, 29Ys x 25 Ys in. (74 x 64.5 em). Royal Collection, Her Majesty Queen Elizabeth II, London (see fig. 138), Hendrick van Vliet (see cat. no. 84), and Coesermans woman appears in profile, looking slightly downward, rather as the (see cat. no. 13). A dating of Vermeer's canvas to about 1662-63 is figure in The Letter Reader (fig. 163) appears to the viewer. In each also suggested by its comparatively light and local coloring and by picture a reflection tempts one further, to succumb to the exquisite, the textured treatment of passages such as the highlighted edge frustrating pleasures of sight. of the table-carpet. Like other paintings by Vermeer, not least those owned by Van The queue of forms on the right, extending from the table to the Ruijven (as this one apparently was), The Music Lesson plays with the chair and viol, the woman, the virginal, and the forms reflected in notion of voyeurism: art (mirror of nature) and sight itself seduce the mirror, may be compared with the sequence of figures, four alto the artist, the lover, the viewer, the connoisseur. ns The glimpse of an 9 gether, in Young Woman with a Wineglass (fig. 167). In both pictures, easel in the mirror reveals that the whole image is an artifice, u a white pitcher draws attention to secondary figures: in the latter a depicting what we desire but cannot embrace, like the woman's dozing man, who indicates that idleness leads to temptation; and, in reflection. As has often been observed, Vermeer sets up tables and The Music Lesson a painting ofRoman Charity, where Cimon's bound other barriers in the foregrounds of his early works to hold the arms and dependence upon Pero suggest the gentleman caller's cap viewer at a distance. Here perspective performs the same function, as tivity. He is bound by bars of music, which he evidently sings as well it does in Maes's paintings of eavesdroppers spying on lovers. 120 as hears, and by beauty and desire. From his point of view the young (Perspective and lovers are also implied in Bramer's drawing with a 160 VERMEER AND THE DELFT SCHOOL .

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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’.
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Dutch Art, 17Th Century
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Johannes Vermeer : a Generative Artist ? So What ? Courchia Jean Paul, MD Saint Joseph’S Hospital, Dpt of Ophthalmology
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Thoughts About Paintings Conservation This Page Intentionally Left Blank Personal Viewpoints
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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.
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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.
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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,
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Tim's Vermeer
Mongrel Media Presents A Penn & Teller Film Produced by Penn Jillette Tim’s Vermeer Nominee, Best Documentary Critics Choice Awards 2014 Official Selection Telluride Film Festival 2013 Toronto International Film Festival 2013 New York Film Festival 2013 80 mins Distribution Publicity Bonne Smith Star PR 1028 Queen Street West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1H6 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html Summary Tim Jenison, a Texas based inventor, attempts to solve one of the greatest mysteries in all art: How did 17th century Dutch Master Johannes Vermeer ("Girl with a Pearl Earring") manage to paint so photo-realistically -- 150 years before the invention of photography? The epic research project Jenison embarks on to test his theory is as extraordinary as what he discovers. Spanning a decade, Jenison's adventure takes him to Delft, Holland, where Vermeer painted his masterpieces; on a pilgrimage to the North coast of Yorkshire to meet artist David Hockney; and eventually even to Buckingham Palace, to see the Queen's Vermeer. 2 Principal Cast (in order of appearance) TIM JENISON PENN JILLETTE MARTIN MULL PROFESSOR PHILIP STEADMAN DAVID HOCKNEY DR. COLIN BLAKEMORE Filmmakers Director TELLER Produced by PENN JILLETTE Producer FARLEY ZIEGLER Executive Producers PETER ADAM GOLDEN GLENN S. ALAI TIM JENISON TELLER Editor PATRICK SHEFFIELD Director of Photography SHANE F. KELLY Composer CONRAD POPE Re-Recording Mixer LARRY BLAKE 3 Who is Tim? Tim Jenison was the visionary behind the desktop video revolution.
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JOHANNES VERMEER (Yo-HAN-Ess Ver-MEER) 1632-1675
JOHANNES VERMEER (yo-HAN-ess ver-MEER) 1632-1675 “I’d give the whole of Italian painting for Vermeer of Delft. Now there’s a painter who simply said what he had to say without bothering about anything else.” Pablo Picasso Grades 3-5 PowerPoint Lesson Plan OBJECTIVES HISTORY: Places an artwork in its art historical context. Students will be able to describe how Vermeer’s paintings of genre scenes can give us an idea of the daily life of people in the past. Students will also understand that Vermeer’s genre scenes broke with the artistic traditions of the day, because most artists were painting portraits and historical, mythological or religious subjects. CRITICISM: Informed talk about art. Students will be able to describe the difference between implied texture and actual texture. AESTHETICS: Questions the nature, value and beauty of art. Students will discuss whether or not it is important for us to understand the reasons an artist has for creating a work of art. PRODUCTION: Creating art. Students will create a drawing of Girl with a Pearl Earring, which shows implied texture. VOCABULARY Note to volunteers The vocabulary words will be in bold italics throughout the lesson. They will be defined within the text of the lesson and do not need to be presented separately. The definitions included under this section of the lesson are very detailed and intended for adults only. 1 PowerPoint Presentation Genre Scene: painting that stresses subject matter of domestic trivia, homey scenes, sentimental family life, daily life, etc. Texture: the surface quality of an object or the representation of surface character.
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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.
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The Music Lesson Free
FREE THE MUSIC LESSON PDF Victor L. Wooten | 275 pages | 01 Oct 2015 | Penguin Putnam Inc | 9780425220931 | English | New York, NY, United States The Music Lesson - Wikipedia Goodreads helps you keep track of books you want The Music Lesson read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. From Grammy-winning musical icon and legendary bassist Victor L. Wooten comes The Music Lesson, the story of a struggling young musician who wanted music to be his life, and who wanted his life to be great. Then, from nowhere it seemed, a teacher arrived. Part musical genius, part philosopher, part eccentric wise man, the teacher would guide the young musician on a spiritu From Grammy-winning musical icon and legendary bassist Victor L. Part musical genius, part philosopher, part eccentric wise man, the teacher would guide the young musician on a spiritual journey, and teach him that the gifts we get from music mirror those from life, and every movement, phrase, and chord has its own meaning All you have to do is find The Music Lesson song inside. Get A Copy. Paperbackpages. More Details Original Title. Other Editions Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about The Music Lessonplease sign up. Lists with This Book. Community Reviews. Showing Average rating 4. Rating details. More filters. Sort order.
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