DOCSLIB.ORG

Jan Vermeer of Delft

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jan Vermeer of Delft JAN VERMEER OF DELFT [AIN ' WITH RE PROD C KNOWN PAIN 1 THE won: T3J3CI 30 H33M337 VIAL HO ,OOl 33TAW A HTIW UAMOW OKUOY A TVT3M38A0 A 0V1IV1330 VIA MOW OVIUOY A aaoY w3 V: ,mA io MuaeuM v*atuo<k>*thM JAN VERMEER OF DELFT A YOUNG WOMAN WITH A WATER JUG, OR A YOUNG WOMAN OPENING A CASEMENT Metropolitan Museum of Art, New York JAN VERMEER OF DELFT BY PHILIP L. HALE WITH REPRODUCTIONS OF ALL OF VERMEER’S KNOWN PAINTINGS AND EXAMPLES OF THE WORK OF CERTAIN OF HIS CONTEMPORARIES BOSTON SMALL, MAYNARD AND COMPANY PUBLISHERS Copyright, 1913 By Small, Maynard and Company (incorporated) THE UNIVERSITY PRESS, CAMBRIDGE, U. S. A. PREFACE HIS book is written to make the name and the T work of Jan Vermeer of Delft better known to Americans. Although he is now well known to artists and connoisseurs he still remains quite unheeded by very many intelligent and cultivated people. It is to overcome, if possible, this neglect, to bring the man and his work home to people, and to tell so far as may be the curious story of this artist’s disappearance and of his later reappear- ance that the following pages are written. Since there is but little to tell of Vermeer’s life a good deal of this book is given to a study of his artistic qualities and so far as may be of his tech- nical processes. His particular qualities — his design, his study of edges, his intuition for colour values, his pecu- liar and very personal system of colour arrange- ment — are very characteristic and have not perhaps been overmuch dwelt on by previous writers. Anyone who writes of the life and times of Vermeer is of necessity under great obligation to vi PREFACE half a dozen or more men whose researches have cleared up much of the mystery concerning him. The investigations of Biirger-Thore, of Ha- vard and of Obreen; and the later discoveries and corrections of Dr. Bredius, Dr. Martin and Dr. Hofstede de Groot are of the greatest im- portance. Due acknowledgment is hereby made to all of these gentlemen for the assistance which they, quite unconsciously, have afforded the writer of this book. Grateful acknowledg- ment is also made for the kind assistance and advice given for certain details by Dr. VV. R. Valentiner and by Dr. Philip Gentner. P. L. H. CONTENTS Chapter Pace I The Art of Jan Vermeer 3 II Holland in Vermeer’s Day 35 III Vermeer and His Times 53 IV Characteristics of Vermeer’s Technique 99 V Values in Vermeer’s Painting . 143 VI Composition and Design 161 VII Old Masters 193 VIII Vermeer and Modern Painting . 215 IX Vermeer’s Pictures 237 Bibliography 377 Index 385 6 ILLUSTRATIONS A Young Woman with a Water Jug, or a Young Woman Opening a Casement. Jan Vermeer of Delft Frontispiece Metropolitan Museum of Art, New York Facing page A Lady Reading a Letter, and a Maid-servant. Gabriel Metzu. (Attributed by Lord Ronald Gower to Jan Vermeer of Delft) 8 Collection of the late Alfred Beit, London The Soldier and the Laughing Girl. Jan Vermeer of Delft 1 Collection of Henry C. Frick, New York The Lace Maker. Jan Vermeer of Delft 24 Museum of the Louvre, Paris Woman Weighing Pearls or Gold. Jan Vermeer of Delft 30 Collection of P. A. B. Widener, Philadelphia Dutch Room. Artist unknown. ( Wrongly attributed to Jan Vermeer of Delft; possibly by Pieter de Hooch) . 40 Kaiser Friedrich Museum, Berlin A Street in Delft. Jan Vermeer of Delft 54 Collection of J. Six, Amsterdam A View of Delft from the Rotterdam Canal. Jan Vermeer of Delft 58 Royal Picture Gallery, The Hague The Lesson. Artist unknown. (Formerly attributed to Jan Vermeer of Delft; probably by Michiel Sweerts) . 66 National Gallery, London The Goldfinch. Karel Fabritius 72 Royal Picture Gallery, The Hague 2 X ILLUSTRATIONS Facing page Portrait of a Woman. Jan Vermeer of Delft .... 82 Museum of Fine Arts, Buda-Pesth Interior, with Woman and Boy. Pieter de Hooch . 88 Wallace Collection, London Portrait of a Young Man. Jan Vermeer of Delft. (Au- thenticity not established) 92 Museum of Brussels The Procuress, or The Courtesan. Jan Vermeer of Delft 100 The Picture Gallery, Dresden Christ in the House of Mary and Martha. Jan Vermeer of Delft 1 1 Collection of W. A. Coats, Skelmorlie Castle, Scotland Lady with a Lute. Jan Vermeer of Delft 124 Collection of Mrs. Henry E. Huntingdon, New York Diana at Her Toilet. Jan Vermeer of Delft. {Authen- ticity not fully established) 132 Royal Picture Gallery, The Hague The Girl with the Wine Glass. Jan Vermeer of Delft 136 Picture Gallery, Brunswick A Girl at the Spinet. Jan Vermeer of Delft 144 Collection of the late Alfred Beit, London The Love Letter. Jan Vermeer of Delft 156 Rijks Museum, Amsterdam The Concert. Jan Vermeer of Delft 162 Collection of Mrs. John L. Gardner, Boston The Sick Child. Gabriel Metzu 168 In the possession of F. Kleinberger, Paris A Girl Asleep. Jan Vermeer of Delft 174 Collection of the late B. Altman The Love Letter. Jan Vermeer of Delft 182 Collection of the late Alfred Beit, London A Maid-servant Pouring Out Milk, or The Milk- Woman. Jan Vermeer of Delft 188 Rijks Museum, Amsterdam ILLUSTRATIONS xi Facing page The Concert. Gerard Terburg 196 Kaiser Friedrich Museum, Berlin Allegory of the New Testament. Jan Vermeer of Delft . 204 Royal Picture Gallery, The Hague; lent by Dr. A. Bredius A Lady and a Maid-servant. Jan Vermeer of Delft . 210 Collection of James Simon, Berlin A Young Lady with a Pearl Necklace. Jan Vermeer of Delft 220 Kaiser Friedrich Museum, Berlin The Sleeping Servant. Artist unknown. ( Formerly attributed to Jan Vermeer of Delft by Burger-Thore) . 228 Collection of P. A. B. Widener, Philadelphia Portrait of a Young Girl. Jan Vermeer of Delft . 232 Arenberg Gallery, Brussels Lady Writing. Jan Vermeer of Delft 240 Collection of J. Pierpont Morgan; lent to the Metropolitan Museum of Art, New York A Gentleman and a Young Lady, sometimes called The Music Lesson. Jan Vermeer of Delft .... 252 Collection of Henry C. Frick, New York A Young Girl with a Flute. Jan Vermeer of Delft . 264 In the possession of M. Knoedler and Company, New York, London and Paris A Lady Playing the Guitar. Jan Vermeer of Delft . 268 Collection of John G. Johnson, Philadelphia A Young Lady at the Virginals. Jan Vermeer of Delft 272 National Gallery, London Lady at the Virginals and a Gentleman. Jan Ver- meer of Delft 278 Royal Collection, Windsor Castle A Girl Reading a Letter. Jan Vermeer of Delft . 284 Rijks Museum, Amsterdam Portrait of a Young Girl. Jan Vermeer of Delft . 296 Royal Picture Gallery, The Hague xii ILLUSTRATIONS Facing page A Girl Drinking with a Gentleman. Jan Vermeer of Delft 310 Kaiser Friedrich Museum, Berlin Study of a Head. Jan Vermeer of Delft. ( Authenticity contested) 316 Royal Print Collection, Berlin A Girl Reading a Letter. Jan Vermeer of Delft . 324 Picture Gallery, Dresden The Astronomer. Jan Vermeer of Delft 328 Stadel’sches Kunstinstitut, Frankfort-on-Main The Astronomer. Jan Vermeer of Delft. (Authenticity contested) 334 Collection of the Vicomte du Bus de Gisignies, Brussels Artist at Work, or The Studio. Jan Vermeer of Delft . 344 Collection of Count Czernin von Chudenitz, Vienna A Young Lady Seated at the Spinet. Jan Vermeer of Delft 354 National Gallery, London Family in the Courtyard of a House. Pieter de Hooch 364 Academie der Bildenden Kiinste, Vienna The Astronomer. Jan Vermeer of Delft 372 Collection of the late Baron Alphonse de Rothschild, Paris THE ART OF JAN VERMEER JAN VERMEER OF DELFT CHAPTER I THE ART OF JAN VERMEER E find the best men by a process of elimi- W nation. At the outset it may seem strange to call Vermeer the greatest painter who has ever lived. Yet if one looks at painting from the realistic standpoint one of necessity arrives at something like this idea. One may readily con- ceive that Titian and Giorgione were more se- ductive artistic personalities; that Da Vinci was more subtle, Raphael a greater draughtsman. But when it comes to sheer downright painting it would seem that Vermeer was in most respects the leader of all. Indeed, it might almost be said that from our ultra-modern point of view, till Vermeer painted no one had tried to paint at all. Of course there were giants like Velasquez, Rubens and Rembrandt who did very wonderful things. But none of these conceived of arriving 3 JAN VERMEER OF DELFT at tone by an exquisitely just relation of colour values, and it is this idea that lies at the root of all really good modern painting. It is true that Vermeer himself seems to have tried to come at a certain tonality by underpaint- ing in blue. Still, compared to any other old master, his sense of colour values, the relations of various tints and hues one with another, seems to have been exquisitely acute. This and the man- ner in which he studied the “edges” of objects — a subject which is discussed in another chap- ter — are the two chief qualities which lead to his preeminence as a painter. They may not seem to the lay mind very important qualities. But it is not claimed that Vermeer is an impor- tant painter from the layman’s point of view. Rather it is asserted that to other painters Ver- meer seems very great, perhaps the greatest painter per se who has lived.
Load more

Recommended publications
  • Hagerman National Wildlife Refuge Comprehensive Conservation Plan
    U.S. Fish & Wildlife Service Hagerman National Wildlife Refuge Comprehensive Conservation Plan April2006 United States Department of the Interior FISH AND Wll...DLIFE SERVICE P.O. Box 1306 Albuquerque, New Mexico 87103 In Reply Refer To: R2/NWRS-PLN JUN 0 5 2006 Dear Reader: The U.S. Fish and Wildlife Service (Service) is proud to present to you the enclosed Comprehensive Conservation Plan (CCP) for the Hagerman National Wildlife Refuge (Refuge). This CCP and its supporting documents outline a vision for the future of the Refuge and specifies how this unique area can be maintained to conserve indigenous wildlife and their habitats for the enjoyment of the public for generations to come. Active community participation is vitally important to manage the Refuge successfully. By reviewing this CCP and visiting the Refuge, you will have opportunities to learn more about its purpose and prospects. We invite you to become involved in its future. The Service would like to thank all the people who participated in the planning and public involvement process. Comments you submitted helped us prepare a better CCP for the future of this unique place. Sincerely, Tom Baca Chief, Division of Planning Hagerman National Wildlife Refuge Comprehensive Conservation Plan Sherman, Texas Prepared by: United States Fish and Wildlife Service Division of Planning Region 2 500 Gold SW Albuquerque, New Mexico 87103 Comprehensive conservation plans provide long-term guidance for management decisions and set forth goals, objectives, and strategies needed to accomplish refuge purposes and identify the Service’s best estimate of future needs. These plans detail program planning levels that are sometimes substantially above current budget allocations and, as such, are primarily for Service strategic planning and program prioritization purposes.
    [Show full text]
  • 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]
  • Recent Publications 1984 — 2017 Issues 1 — 100
    RECENT PUBLICATIONS 1984 — 2017 ISSUES 1 — 100 Recent Publications is a compendium of books and articles on cartography and cartographic subjects that is included in almost every issue of The Portolan. It was compiled by the dedi- cated work of Eric Wolf from 1984-2007 and Joel Kovarsky from 2007-2017. The worldwide cartographic community thanks them greatly. Recent Publications is a resource for anyone interested in the subject matter. Given the dates of original publication, some of the materi- als cited may or may not be currently available. The information provided in this document starts with Portolan issue number 100 and pro- gresses to issue number 1 (in backwards order of publication, i.e. most recent first). To search for a name or a topic or a specific issue, type Ctrl-F for a Windows based device (Command-F for an Apple based device) which will open a small window. Then type in your search query. For a specific issue, type in the symbol # before the number, and for issues 1— 9, insert a zero before the digit. For a specific year, instead of typing in that year, type in a Portolan issue in that year (a more efficient approach). The next page provides a listing of the Portolan issues and their dates of publication. PORTOLAN ISSUE NUMBERS AND PUBLICATIONS DATES Issue # Publication Date Issue # Publication Date 100 Winter 2017 050 Spring 2001 099 Fall 2017 049 Winter 2000-2001 098 Spring 2017 048 Fall 2000 097 Winter 2016 047 Srping 2000 096 Fall 2016 046 Winter 1999-2000 095 Spring 2016 045 Fall 1999 094 Winter 2015 044 Spring
    [Show full text]
  • Deborah Moggach, Zbigniew Herbert and Dutch Painting of the Seventeenth Century
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Jagiellonian Univeristy Repository Studia Litteraria Universitatis Iagellonicae Cracoviensis 10 (2015), z. 2, s. 131–151 doi: 10.4467/20843933ST.15.012.4103 www.ejournals.eu/Studia-Litteraria MAREK KUCHARSKI Uniwersytet Jagielloński w Krakowie e-mail: [email protected] Intertextual and Intermedial Relationships: Deborah Moggach, Zbigniew Herbert and Dutch Painting of the Seventeenth Century Abstract The aim of the article is to analyse the intertextual and intermedial relationships between Tulip Fever, a novel by Deborah Moggach, The Bitter Smell of Tulips, an essay by Zbigniew Herbert from the collection Still Life with a Bridle, with some selected examples of Dutch paintings of the seventeenth century. As Moggach does not confi ne herself only to the aforementioned essay by Herbert, I will also refer to other essays from the volume as well as to the essay Mistrz z Delft which comes from the collection of the same title. Keywords: Deborah Moggach, Zbigniew Herbert, novel, essay, Dutch paintings, intertextuality, intermediality. Zbigniew Herbert’s essay The Bitter Smell of Tulips comes from the collection Still Life with a Bridle which is a part of the trilogy that, apart from the afore- mentioned collection of essays, consists of two other volumes: Labyrinth on the Sea and Barbarian in the Garden. In each of the volumes, in the form of a very personal account of his travels, Herbert spins a yarn of European culture and civi- lization. Labyrinth on the Sea focuses on the history and culture of ancient Greece and Rome whereas in Barbarian in the Garden Herbert draws on the whole spec- trum of subjects ranging from the prehistoric paintings on the walls of the cave in Lascaux, through the Gothic cathedrals and Renaissance masterpieces, to the stories about the Albigensians and the persecution of the Knights of the Templar Order.
    [Show full text]
  • 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.
    [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]
  • 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]
  • Great Southern Land: the Maritime Exploration of Terra Australis
    GREAT SOUTHERN The Maritime Exploration of Terra Australis LAND Michael Pearson the australian government department of the environment and heritage, 2005 On the cover photo: Port Campbell, Vic. map: detail, Chart of Tasman’s photograph by John Baker discoveries in Tasmania. Department of the Environment From ‘Original Chart of the and Heritage Discovery of Tasmania’ by Isaac Gilsemans, Plate 97, volume 4, The anchors are from the from ‘Monumenta cartographica: Reproductions of unique and wreck of the ‘Marie Gabrielle’, rare maps, plans and views in a French built three-masted the actual size of the originals: barque of 250 tons built in accompanied by cartographical Nantes in 1864. She was monographs edited by Frederick driven ashore during a Casper Wieder, published y gale, on Wreck Beach near Martinus Nijhoff, the Hague, Moonlight Head on the 1925-1933. Victorian Coast at 1.00 am on National Library of Australia the morning of 25 November 1869, while carrying a cargo of tea from Foochow in China to Melbourne. © Commonwealth of Australia 2005 This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced by any process without prior written permission from the Commonwealth, available from the Department of the Environment and Heritage. Requests and inquiries concerning reproduction and rights should be addressed to: Assistant Secretary Heritage Assessment Branch Department of the Environment and Heritage GPO Box 787 Canberra ACT 2601 The views and opinions expressed in this publication are those of the author and do not necessarily reflect those of the Australian Government or the Minister for the Environment and Heritage.
    [Show full text]
  • 72. Dutch Baroque
    DOMESTIC LIFE and SURROUNDINGS: DUTCH BAROQUE: (Art of Jan Vermeer and the Dutch Masters) BAROQUE ART: JAN VERMEER and other Dutch Masters Online Links: Johannes Vermeer - Wikipedia Vermeer and the Milkmaid - Metropolitan Museum of Art Vermeer's Glass of Wine – Smarthistory Vermeer's Young Woman with a Water PItcher – Smarthistory Vermeer Master of Light- Documentary narrated by Meryl Streep Jan Steen – Wikipedia The Drawing Lesson, Jan Steen Judith Leyster - Wikipedia Jan Vermeer. Girl Reading a Letter at an Open Window, c. 1657, oil on canvas An innkeeper and art dealer who painted only for local patrons, Jan (Johannes) Vermeer (1632-1675) entered the Delft artists’ guild in 1653. “Of the fewer than forty canvases securely attributed to Vermeer, most are of a similar type- quiet, low-key in color, and asymmetrical but strongly geometric in organization. Vermeer achieved his effects through a consistent architectonic construction of space in which every object adds to the clarity and balance of the composition. An even light from a window often gives solidity to the figures and objects in a room. All emotion is subdued, as Vermeer evokes the stillness of meditation. Even the brushwork is so controlled that it becomes invisible, except when he paints reflected light as tiny droplets of color. Jan Vermeer. The Milkmaid. c. 1657-1658, oil on canvas Despite its traditional title, the picture clearly shows a kitchen or housemaid, a low- ranking indoor servant, rather than a milkmaid who actually milks the cow, in a plain room carefully pouring milk into a squat earthenware container (now commonly known as a "Dutch oven") on a table.
    [Show full text]
  • Literatura: a (In)Disciplina Na Intersecção Das Artes E Dos Saberes Cadernos De Anglística
    LITERATURA: A (IN)DISCIPLINA NA INTERSECÇÃO DAS ARTES E DOS SABERES CADERNOS DE ANGLÍSTICA DIRECÇÃO J. Carlos Viana Ferreira e Maria Luísa Azuaga HISTÓRIA DA LÍNGUA INGLESA Júlia Dias Ferreira THE CROSSROADS OF GENDER AND CENTURY ENDINGS Alcinda Pinheiro de Sousa, Luísa Maria Flora and Teresa de Ataíde Malafaia (eds.) CULTURA E ANÁLISE CULTURAL. UM ENSAIO SOBRE A DISCIPLINA DE CULTURA INGLESA I NA FACULDADE DE LETRAS DE LISBOA Luísa Leal de Faria OS PRAZERES DA IMAGINAÇÃO Joseph Addison FEMININE IDENTITIES Luísa Maria Flora, Teresa F. A. Alves and Teresa Cid (eds.) ESTRANHA GENTE, OUTROS LUGARES: SHAKESPEARE E O DRAMA DA ALTERIDADE. UM PROGRAMA PARA A DISCIPLINA DE LITERATURA INGLESA Rui Carvalho Homem SHORT STORY – UM GÉNERO LITERÁRIO EM ENSAIO ACADÉMICO Luísa Maria Flora CÂNONE E DIVERSIDADE. UM ENSAIO SOBRE A LITERATURA E A CULTURA DOS ESTADOS UNIDOS Teresa Ferreira de Almeida Alves OLHAR A ESCRITA. PARA UMA INTRODUÇÃO AO ESTUDO DA LITERATURA NA UNIVERSIDADE Isabel Fernandes A INQUIETUDE DAS PALAVRAS. LEITURAS DE VIRGINIA WOOLF Maria de Deus Duarte A LIÇÃO DO CÂNONE. UMA AUTO-REFLEXÃO DOS ESTUDOS LITERÁRIOS João Ferreira Duarte CULTURA INGLESA. O CONTEXTO POLÍTICO-IDEOLÓGICO NO SÉCULO XVIII João Manuel de Sousa Nunes PRIMÓRDIOS DA MODERNIDADE EM INGLATERRA. UM ESTUDO DE CULTURA INGLESA J. Carlos Viana Ferreira A COMÉDIA DE COSTUMES BRITÂNICA. UM ESTUDO SOBRE O ENTRECRUZAR DA ÉTICA E DA COMÉDIA Maria Isabel Barbudo LITERATURA: A (IN)DISCIPLINA NA INTERSECÇÃO DAS ARTES E DOS SABERES Isabel Fernandes CADERNOS DE ANGLÍSTICA - 16 LITERATURA: A (IN)DISCIPLINA NA INTERSECÇÃO DAS ARTES E DOS SABERES AUTOR Isabel Fernandes REVISÃO Maria Isabel Barbudo DESIGN, PAGINAÇÃO E ARTE FINAL Inês Mateus – [email protected] EDIÇÃO Centro de Estudos Anglísticos da Universidade de Lisboa 2011 IMPRESSÃO E ACABAMENTO Várzea da Rainha Impressores TIRAGEM 150 exemplares ISBN 978-972-8886-16-5 DEPÓSITO LEGAL 330714/11 PATROCÍNIO FUNDAÇÃO PARA A CIÊNCIA E A TECNOLOGIA Índice I Repensar a literatura e o seu estudo na universidade .
    [Show full text]