DOCSLIB.ORG

Philip L. Hale

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Philip L. Hale 1 *A NEW book on Jan Vermeer of Delft, his life and art, based on the author's original work With 8 illustrations in colour and monochrome, including all of his known VERMEER paintings by PHILIP L. HALE Completed and Prepared for the Press by FREDERICK W. COBURN and RALPH T. HALE Jan Vermeer of Delft l\ few years ago Mr. Andrew W. Mellon is said to have paid $290,000 for one of Vermeer's paintings. Yet at a time not many- decades back his work was so little esteemed that occasionally names of other painters were substituted for Vermeer's in order to effect the sale of one of his pictures at a high price. Although in his forty- three years Vermeer had won prestige in his own seventeenth century Holland, his name for some reason was almost forgotten less than fifty years after his death, and his work did not again acquire significance in the eyes of the art world until the latter half of the nineteenth century. Even as re- cently as twenty-five years ago he was distinctly a "painter's painter," known to the average art lover, if at all, as a minor Dutch artist. Today, however, his work receives universal recognition. His pictures are esteemed more highly than those of many of the other masters. The value of the forty- one pictures definitely attributed to him is estimated at $25,000,000. From Vermeer, the unknown, he has come to be considered by Ver- meer enthusiasts as the greatest painter of all time. (Continued on back flap) Digitized by the Internet Archive in 2012 with funding from Metropolitan New York Library Council - METRO http://archive.org/details/vermeerOOhale V E R M E E R by PHILIP L. HALE Completed and prepared for the press by FREDERICK W. COBURN and RALPH T. HALE WITH EIGHTY-ONE ILLUSTRATIONS, OF WHICH TEN ARE IN COLOUR, REPRODUCED EITHER FROM THE PAINTINGS GENERALLY ACCEPTED AS THE WORK OF VERMEER OR FROM PAINTINGS SOMETIMES ATTRIBUTED TO HIM; TOGETHER WITH EXAMPLES OF THE WORK OF SOME OF HIS CONTEMPORARIES AND OTHER MATERIAL ILLUSTRATING: HIS SURROUNDINGS e,- osic CbIQm<Uv-~\ TSoSlon c 7\[ew York HALE, CUSHMAN & FLINT COPYRIGHT 1937 BY HALE CUSHMAN & FLINT INCORPORATED PRINTED IN THE UNITED STATES OF AMERICA BY THE PLIMPTON PRESS • NORWOOD • MASSACHUSETTS 1 **^^*^~^^** Contents A NOTE BY THE PUBLISHERS Xlll BY WAY OF ACKNOWLEDGMENT XV PHILIP L. HALE — AN APPRECIATION BY F. W. COBURN Xvii "Part I The Man and His Times I VERMEER THE SUPREME PAINTER 3 II DELFT AND THE BACKGROUND OF VERMEER's ART IO III WHAT IS KNOWN ABOUT JAN VERMEER OF DELFT 23 IV VERMEER, FORGOTTEN AND REDISCOVERED 47 V HIS GENIUS AND HIS METHODS .... 54 VI CHARACTERISTICS OF VERMEER's TECHNIQUE 63 VII VERMEER AND MODERN PAINTING . 89 Fan II His Works I VERMEER's PAINTINGS 97 II A CATALOGUE RAISONNE: IO7 The Known Works of Jan Vermeer of Delft and of Certain Other Paintings Sometimes Attributed to Him BIBLIOGRAPHY 23 INDEX 239 List of Illustrations Philip L. Hale, 1865-193 1 Facing Page xviii From a Photograph by Donald B. Barton plate A. Reproductions in dolour NUMBER i A Young Woman Opening a Casement. Also called A Young Woman with a Water Jug. Jan Vermeer of Delft ........ Frontispiece Metropolitan Museum of Art, New York Descriptive text on Page 107 facing PAGE 2 The Music Lesson. Also called A Lady and a Gentleman at a Spinet. Jan Vermeer of Delft ..... 8 Royal Collection, Great Britain {Generally known as the Windsor Castle Vermeer) Descriptive text on Page 152 3 View of Delft. Jan Vermeer of Delft . .20 Royal Gallery of Paintings, The Mauritshuis, The Hague Descriptive text on Page 168 4 Head of a Young Girl. Jan Vertneer of Delft . .28 Royal Gallery of Paintings, The Mauritshuis, The Hague Descriptive text on Page 173 5 The Reader. Sometimes called A Girl Reading a Letter. Jan Vermeer of Delft . -38 Rijks Museum, Amsterdam Descriptive text on Page 174 6 A Maid-Servant Pouring Milk. Also called The Milk- woman, Girl with Bread, The Cook. Jan Vermeer of Delft 50 Rijks Museum, Amsterdam Descriptive text on Page 175 7 The Love Letter. Jan Vermeer of Delft .... 68 Rijks Museum, Amsterdam Descriptive text on Page 177 21 31 vi List of Illustrations PLATE FACING NUMBER PAGE 8 The Little Street in Delft. Jan Vermeer of Delft . j6 Rijks Museum, Amsterdam Descriptive text on Page 179 9 The Pearl Necklace. Jan Vermeer of Delft ... 84 Kaiser Friedrich Museum, Berlin Descriptive text on Page 187 10 A Girl Reading a Letter. Jan Vermeer of Delft . 92 State Picture Gallery, Dresden Descriptive text on Page 195 B. Drawings in \Jne, etc. page Map of Delft, 1667 15 The Guild of St. Luke, Delft . -17 Seal of the City of Delft . .21 Decorated Blue and White Plate, Depicting the Great Delft Explosion of 1654 ...... 59 Decorated Blue and White Plate, Depicting the Hague Gate at Delft . .61 Signatures to some of Vermeer's Paintings . .106 Facsimile of Double-page from the Masterbook of the Guild of St. Luke, Delft . .230 C. Reproductions in Monochrome plate In a Section following Page 94 NUMBER 1 A Girl Asleep. Jan Vermeer of Delft Metropolitan Museum of Art, New York Descriptive text on Page 1 1 1 A Lady with a Lute. Jan Vermeer of Delft Metropolitan Museum of Art, New York Descriptive text on Page 1 1 5378 List of Illustrations vii PLATE NUMBER 1 Allegory of the New Testament. Jan Vermeer of Delft Metropolitan Museum of Art, New York Descriptive text on Page, 115 14 Lady Writing. Jan Vermeer of Delft Morgan Collection, New York Descriptive text on Page 118 1 Girl Interrupted at Her Music. Sometimes called The Singing Lesson, The Music Lesson, A Gentleman and a Young Lady. Jan Vermeer of Delft Frick Collection, New York Descriptive text on Page 1 19 16 The Soldier and the Laughing Girl. Sometimes called Officer and Laughing Girl. Jan Vermeer of Delft Frick Collection, New York Descriptive text on Page 121 1 The Map Shown on the Wall in The Soldier and the Laughing Girl From the original engraving in the possession of Ralph T. Hale, Winchester, Massachusetts Descriptive text on Page 123 1 A Lady and a Maid-Servant. Jan Vermeer of Delft Frick Collection, New York Descriptive text on Page 123 19 The Geographer. Also called The Astronomer. Jan Vermeer of Delft Collection of E. John Magnin, New York Descriptive text on Page 125 20 A Young Woman Reading. Attributed by some critics to Jan Vermeer of Delft Bache Collection, New York Descriptive text on Page 1 30 21 Head of a Young Boy. Attributed by some critics to Jan Ver- meer of Delft Bache Collection, New York Descriptive text on Page 131 22 The Girl with the Red Hat. Also called The Girl with the Red Feather. Jan Vermeer of Delft Collection of The A. W. Mellon Educational and Charitable Trust, Washington Descriptive text on Page 132 1 viii List of Illustrations PLATE NUMBER 23 The Smiling Girl. Also known as Head of a Young Girl. Jan Vermeer of Delft Collection of The A. W. Mellon Educational and Charitable Trust, Washington Descriptive text on Page 134 24 The Lace Maker. Jan Vermeer of Delft Collection of The A. W. Mellon Educational and Charitable Trust, Washington Descriptive text on Page 135 25 The Concert. Jan Vermeer of Delft Isabella Stewart Gardner Museum, Boston Descriptive text on Page 136 26 Portrait of a Lady. Attributed by some critics to Jan Vermeer of Delft Collection of Mr. and Mrs. E. W. Edwards, Cincinnati Descriptive text on Page 1 39 27 A Woman Weighing Gold. Sometimes called A Woman Weigh- ing Pearls. Jan Vermeer of Delft Widener Collection, Elkins Park, near Philadelphia Descriptive text on Page 140 28 A Young Girl with a Flute. Jan Vermeer of Delft Widener Collection, Elkins Park, near Philadelphia Descriptive text on Page 143 29 A Lady Playing the Guitar. Also called Girl with Mandolin. Attributed by some critics to Jan Vermeer of Delft The John G. Johnson Art Collection, Philadelphia Descriptive text on Page 144 30 The Guitar Player. Also known as The Lute Player. Jan Ver- meer of Delft Iveagh Bequest, Ken Wood, Highgate, London Descriptive text on Page 147 3 A Young Lady at the Virginals. Jan Vermeer of Delft National Gallery, London Descriptive text on Page 154 32 A Young Lady Seated at the Spinet. Jan Vermeer of Delft National Gallery, London Descriptive text on page 1 56 List of Illustrations ix PLATE NUMBER 33 A Love Letter. Also called Young Lady Writing. Jan Vermeer of Delft Beit Collection, London Descriptive text on Page 158 34 Young Girl at a Spinet. Jan Vermeer of Delft Beit Collection, London Descriptive text on Page 159 35 Head of a Young Man (possibly a portrait of Simon Decker). At- tributed by some critics to Jan Vermeer of Delft Collection of Ernest W. Savory, Bristol, England Descriptive text on Page 160 36 Old Engraving from the Preceding Portrait Descriptive text on Page 160 37 A Young Girl. Jan Vermeer of Delft Formerly in the Collection of Charles E. Carruthers, Batheaston, Somerset, England; in the possession of Anthony F. Reyre, London Descriptive text on Page 162 38 Christ in the House of Mary and Martha. Jan Vermeer of Delft National Gallery of Scotland, Edinburgh Descriptive text on Page 163 39 The Death of St. Joseph. Bernardo Cavallino (1622-1654) Museum of Naples Descriptive text on Page 164 40 The Toilette of Diana. Jan Vermeer of Delft Royal Gallery of Paintings, The Mauritshuis, The Hague Descriptive text on Page 171 41 Portrait of a Girl.
Load more

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]
  • HNA April 11 Cover-Final.Indd
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 28, No. 1 April 2011 Jacob Cats (1741-1799), Summer Landscape, pen and brown ink and wash, 270-359 mm. Hamburger Kunsthalle. Photo: Christoph Irrgang Exhibited in “Bruegel, Rembrandt & Co. Niederländische Zeichnungen 1450-1850”, June 17 – September 11, 2011, on the occasion of the publication of Annemarie Stefes, Niederländische Zeichnungen 1450-1850, Kupferstichkabinett der Hamburger Kunsthalle (see under New Titles) HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Contents Dagmar Eichberger (2008–2012) HNA News ............................................................................1 Wayne Franits (2009–2013) Matt Kavaler (2008–2012) Personalia ............................................................................... 2 Henry Luttikhuizen (2009 and 2010–2014) Exhibitions
    [Show full text]
  • 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.
    [Show full text]
  • 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 .................................................................................................................
    [Show full text]
  • Luxury Low Countries
    LUXURY LUXURY in the LOW LUXURY COUNTRIES the in in the e superflu, chose très nécessaire”, wrote Voltaire 1736 in COUNTRIES LOW LOW his poem Le mondain. Needless to say that luxury is much Lmore than merely materialised/solidified redundancy. Offering a first panoramic view on various manifestations of conspicuous material culture in a Netherlandish context from 1500 until the present, this study – rather than investigating self- COUNTRIES evident cases of luxury – aims to explore its boundaries and the different stages in which luxury is fabricated or sometimes only simulated. Thematically, the volume focuses on two major issues, i.e. collections and foodways as means of expression of prosperity and splendour, which will be discussed by an international group of scholars, emanating from disciplines such as archaeology, history, book and media studies, art history, linguistics, and historical (ed.) Rittersma Rengenier ethnology. With an afterword by Maxine Berg. MIScellaneous RefleCtions on NETHERlandish MaTERial CULTURE, 1500 to the PRESENT Rengenier Rittersma (ed.) www.vubpress.be 9 789054 875406 Miscellaneous Reflections on Netherlandish Material Culture, 1500 to the Present Rengenier C. Rittersma (ed.) © 2010 FARO. Flemish interface for cultural heritage Cover image: Adriaan de Lelie, De kunstgalerij van Jan Priemstraat 51, B-1000 Brussels Gildemeester Jansz in zijn huis aan de Herengracht te www.faronet.be Amsterdam, 1794-1795 www.pharopublishing.be © Rijksmuseum Amsterdam Editorial board: Marc Jacobs, Rengenier C. Rittersma, All rights reserved. No part of this book may be Peter Scholliers, Ans Van de Cotte reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, Final editors: Frederik Hautain & Ans Van de Cotte recording, or on any information, storage or retrieval system without permission of the publisher.
    [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]
  • Images in Tourism and Consumer Culture
    CHAPTER 6 Selling a “Dutch Experience”: Images in Tourism and Consumer Culture Dellmann, Sarah, Images of Dutchness. Popular Visual Culture, Early | 265 Cinema, and the Emergence of a National Cliché, 1800-1914. Amsterdam University Press, 2018 doi: 10.5117/9789462983007_ch06 ABSTRACT This chapter investigates early tourist discourse (1875-1914) on the Nether- lands through material of mostly British, German, and Dutch origin – travel brochures from Thomas Cook, the Vereeniging voor Vreemdelingenverkeer (VVV), and the Centraal Bureau voor Vreemdelingenverkeer, as well as guide- books and travel writings. It traces the emergence of commercial tourism to the Netherlands by bringing together earlier forms of leisure travel to the Netherlands and the discovery of the Netherlands as a place worthwhile visit- ing by painters and writers of the Romanticist movement. In tourist discourse, information is linked to the advertising or purchase of a service or commod- ity – a travel arrangement, a postcard, or a souvenir. These commodities serve as mediators for experiencing the visited country; hence other visual media of consumer culture are investigated as well (advertising trade cards, picture post- cards). Images in tourist discourse and consumer culture mostly use the form of the cliché, regardless if these images were produced by Dutch or foreign peo- ple. The chapter concludes with a discussion of Dutch reactions to the cliché, which calls for rethinking the divide between self-image and outsiders’ image. KEYWORDS visual culture; consumer culture; tourism; visual media; nineteenth century; twentieth century; cliché; self-image and outsider’s image; landscape paint- ing; Romanticism; Picturesque 6.1 INTRODUCTION: DISCOVERING THE AUTHENTIC Information from promotional material in tourist discourse is often met with suspicion.
    [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]
  • Art and New Media: Vermeer's Work Under Different Semiotic Systems
    Vieira Art and New Media: Vermeer’s Work under Different Semiotic Systems Vieira 2 Miriam de Paiva Vieira Art and New Media: Vermeer’s Work under Different Semiotic Systems Submitted in partial fulfillment of the requirements for the degree of "Mestre em Letras: Estudos Literários". Area: Literatures in English Line of Research: Literature and other semiotic systems Thesis Advisor: Prof. Dra. Thaïs Flores Nogueira Diniz Belo Horizonte Faculdade de Letras Universidade Federal de Minas Gerais 2007 Vieira, Miriam de Paiva. V658a Art and new media [manuscrito] : Vermeer’s work under different semiotic systems / Miriam de Paiva Vieira. – 2007. 116 f., enc. : il. color., p&b, tab. Orientadora : Thaïs Flores Nogueira Diniz. Área de concentração: Literaturas de Expressão Inglesa. Linha de Pesquisa: Literatura e outros Sistemas Semióticos. Dissertação (mestrado) – Universidade Federal de Minas Gerais, Faculdade de Letras. Bibliografia : f. 110-116. 1. Vermeer, Johannes, 1632-1675 – Crítica e interpretação – Teses. 2. Arte e literatura – Teses. 3. Adaptações para o cinema – Teses. 4. Semiótica e artes – Teses. 5. Semiótica e literatura – Teses. 6. Intermedialidade – Teses. 7. Transtextualidade – Teses. I. Diniz, Thaïs Flores Nogueira. II. Universidade Federal de Minas Gerais. Faculdade de Letras. III. Título. CDD : 809.93357 Vieira 3 I dedicate this work to the new reason of my life: Débora. Vieira 4 ACKNOWLEDGEMENTS To my dear nephew Guilherme and all the late snacks brainstorming over the kitchen’s table. To my good friend James and his thoughtful revisions. To my sister Maria Teresa for making me laugh at the most difficult times. To my colleague, and now good friend, Patrícia Lane for all the sharing.
    [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]
  • The Gildemeesters a Family’S Strategies for Commercial Success and Upwards Social Mobility During the 18Th Century
    Picture on front page: Daniel Gildemeester’s Sintra Palacio de Seteais, 19th century, artist unknown, www.serradesintra.net, visited on 22-08-2018. 2 The Gildemeesters A family’s strategies for commercial success and upwards social mobility during the 18th century Leonoor Inger Wesseling 22 augustus 2018 3 Inhoudsopgave INTRODUCTION 5 Historiography 7 Commercial family networks and family firms 8 Foreign Merchant Communities in Lisbon 10 Consuls and Diplomacy 12 Theoretical Approaches 15 Entrepreneurship 15 New Diplomatic History 17 Portfolio Capitalists 19 The Biographical Turn 19 Sources 20 The structure of this thesis 21 Chapter 1 - The firm Gildemeester&Co., 1705-1745 24 The Gildemeesters in Utrecht 24 Social capital and marital relations 26 The beginning of Jan Gildemeester’s career, 1721-1735 29 The firm Gildemeester&Co, 1728-1745 32 Conclusion 33 Chapter 2 - The Consuls, 1740-1780 34 Dutch-Portuguese bilateral relations, 1640-1705 35 The Consul and the Resident 37 Jan Gildemeester and residents Jan Van Til and Charles Francois Bosch de la Calmette 39 Case study: The Problematic 1750s 42 Justification of the case study: the years 1752-1755 43 Four grievances of the Dutch Nation 44 Economic consular agency 50 The consulship and the family 54 Conclusion 57 Chapter 3 - the international diamond trade 59 The Pombaline Reforms and their implications for the diamond trade 59 Reforms in the mining and trading of diamonds 61 The diamond contractors 1753-1759 62 Daniel Gildemeester and the Diamond Contract 65 The conditions of the contract, 1761-1771 69 The proposal of diamonds in banking 70 Gildemeester’s bargaining position 72 Personal Connections 74 Jan Gildemeester and Jan Janszoon’s activities in Amsterdam 79 Epilogue 81 CONCLUSION 84 REFERENCES 87 Archives/Repositories 87 Printed historical sources 87 Scholarly Publications 88 4 INTRODUCTION In 1785, Lieutenant Cornelis de Jong van Rodenburgh visited Portugal’s capital.
    [Show full text]
  • Johannes Vermeer (Delft 1632 – 1675 Delft)
    Johannes Vermeer (Delft 1632 – 1675 Delft) How To Cite Bakker, Piet. "Johannes Vermeer." In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. Johannes Vermeer, the second child of Reynier Jansz Vos (also known as Vermeer) and Digna Baltens, was baptized in the Nieuwe Kerk in Delft on 31 October 1632. Reynier Jansz initially earned a living as a weaver of a fine satin fabric called caffa.[1] In addition, from 1629 he is mentioned as the innkeeper of De Vliegende Vos. He was also an art dealer, registering as such in the Delft Guild of Saint Luke in 1631. On 1 May 1641, when Vermeer was nine-and-a-half years old, the family moved from the Voldersgracht to a house and inn called Mechelen, on the Marktveld, where Reynier Jansz actively continued to buy and sell paintings. Following his father’s death in 1652, Vermeer took over the business while his mother continued to run the inn.[2] Digna Baltens tried to sell the property in 1663, but when it failed to fetch the desired price, she put it up for rent. Vermeer inherited the inn after her death in 1670, and he continued to rent it out. On 20 April 1653 Vermeer married Catharina Bolnes (ca.
    [Show full text]