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Vermeer and the Masters of Genre Painting PRESS KIT Vermeer and the Masters of Genre Painting Exhibition 22 February – 22 May 2017 Hall Napoléon Press Contact Céline Dauvergne [email protected] Tél. + 33 (0)1 40 20 84 66 1 TABLE OF CONTENTS Press Release page 3 The Exhibition Layout page 5 Press Visuals page 12 The complete list of the exposed works is available on request: [email protected] 2 PRESS RELEASE Exhibition 22 February–22 May 2017 Hall Napoléon Vermeer and the Masters of Genre Painting The Musée du Louvre, in collaboration with the National Gallery of Ireland in Dublin and the National Gallery of Art in Washington, is holding a landmark exhibition about renowned painter Johannes Vermeer. For the first time since 1966, this event will bring together twelve of the Delft master’s paintings –a third of his total known body of work–providing an insight into the fascinating relationships the artist maintained with other great painters of the Dutch Golden Age. Thanks to special loans from the most prominent American, British, German, and–naturally–Dutch museums, visitors will be able to see Vermeer in a new light. The exhibition does away with the legend of the reclusive artist living in his own inaccessible, silent world–without ever implying that Vermeer was just one painter of many. Indeed, his artistic temperament grew more distinct through encounters with other artists. Vermeer did more Johannes Vermeer, The Milkmaid, Rijksmuseum than launch a new movement: he acted as an agent of metamorphosis. © Rijksmuseum “The Sphinx of Delft”: coined by French journalist and art critic Théophile Thoré-Bürger when he revealed Vermeer to the world late in the 19th century, this famous expression has served mainly to Organized in partnership with the promote an enigmatic image of the painter. The myth of the National Gallery of Ireland in Dublin and solitary genius has done the rest. Yet Johannes Vermeer (1632– the National Gallery of Art in 1675) did not attain his level of creative mastery in isolation from Washington. the art of his time. Through comparisons with the works of other artists of the Golden Exhibition curators: Blaise Ducos, Department of Paintings, Age–among them Gerrit Dou, Gerard ter Borch, Jan Steen, Pieter Musée du Louvre, Paris, de Hooch, Gabriel Metsu, Caspar Netscher, and Frans van Mieris– Adriaan E. Waiboer, National the exhibition brings to light Vermeer’s membership of a network Gallery of Ireland, Dublin, and of painters specializing in the depiction of everyday life while Arthur K. Wheelock Jr., admiring, inspiring, and vying with each other. National Gallery of Art, The third quarter of the 17th century saw the Dutch Republic’s Washington. global economic power reach its apogee. Proud of their social standing, the Dutch elite demanded art that would reflect their This exhibition enjoys the support of primary prestige. This demand led to the emergence of a “new wave” of sponsor Kinoshita Group, as well as ING Bank genre painting in the early 1650s, with artists shifting their focus to and Deloitte. idealized depictions of domesticity in elegant society. The men and women portrayed in these masterfully-executed pieces display a PRACTICAL INFORMATION staged civility. Opening hours: every day from 9 a.m. Although the artists in question worked in different cities across to 6 p.m., except Tuesdays. Night the Republic of the United Netherlands, their technique, and the opening until 9:45 p.m. on Wednesdays and Fridays. style, subjects, and compositions featured in their work showed Admission: €15 (permanent considerable similarities. The exceptional quality of their creations collections + exhibitions) can be partly attributed to the lively professional rivalry that existed Online ticket sales: www.ticketlouvre.fr between them. Further information: www.louvre.fr/en Musée du Louvre External Relations Department Press Contact Anne-Laure Béatrix, Director Céline Dauvergne Adel Ziane, Head of Communications Subdepartment [email protected] Sophie Grange, Head of Press Division Tél. +33 (0)1 40 20 84 66 3 AT THE LOUVRE AUDITORIUM A Season devoted to the Dutch Golden Lectures Age at the Musée du Louvre February 23, 2017 at 12:30 p.m. and 6:30 p.m. Presentation of the exhibition (in French) Masterpieces from the Leiden Collection Blaise Ducos, Musée du Louvre The Age of Rembrandt February 22–May 22, 2017 March 2, 9, 16, and 30, 2017 at 6:30 p.m. Salles Sully To mark Thomas S. Kaplan’s donation to the Understanding Vermeer—“The Sphinx of Delft” Louvre of Ferdinand Bol’s painting Eliezer and A series of four lectures Rebecca at the Well, the Musée du Louvre is presenting a selection from the Leiden Collec- From “Drolleries” to Interior Scenes: the Birth and Beginnings of Dutch tion, one of the most comprehensive grou- Genre Painting pings of Dutch Golden Age pictures in private hands. Sabine van Sprang, Royal Museums of Fine Arts of Belgium, Brussels (March 2) Drawing the Everyday The Fabric of Society: Fashion in the Republic (1650–1680) Holland in the Golden Age Bianca du Mortier, Rijksmuseum, Amsterdam (March 9) March 16–June 12, 2017 Rotonde Sully This major exhibition of drawings retraces the Johannes Vermeer’s Milkmaid development of the genre scene in the Nether- Blaise Ducos, Musée du Louvre (March 16) lands during the 17th century. Reopening of the galleries devoted to northern Vermeer Forgeries European paintings from the 17th to the 19th Jonathan Lopez, art historian and writer, New York (March 30) century After almost one year under renovation, a total of twenty rooms will reopen with a new pre- PRATICAL INFORMATION sentation of some 530 Dutch and Flemish Information: paintings, including works by Rembrandt, Ru- +33 (0)1 40 20 55 55, Monday to Friday, 9 a.m. to 7 p.m. bens, and Van Dyck. www.louvre.fr Tickets: In person: Auditorium ticket windows OTHER EXHIBITIONS Telephone: +33 (0)1 40 20 55 00 Valentin de Boulogne (1591–1632) Online: www.fnac.com Beyond Caravaggio February 22–May 22, 2017 Hall Napoléon Owner of the world’s largest collection of his works, the Louvre, in partnership with the Me- tropolitan Museum of Art, is presenting the RELATED WORK first monographic exhibition of the most signi- ficant representative of the Caravaggesque Exhibition catalogue movement in Europe. Vermeer and the Masters of Genre Painting Edited by Adriaan E. Waiboer, Blaise Ducos, and Arthur K. Wheelock Jr. Co-published by Musée du Louvre Éditions and Somogy Éditions d’Art. 448 pages, 300 illustrations, €39 Exhibition album Co-published by Musée du Louvre Éditions and Somogy Éditions d’Art. 48 pages, 50 illustrations, €8 Documentary Vermeer’s Revenge Directed by: Jean-Pierre Cottet and Guillaume Cottet Jointly produced by: ARTE France, Martange Production, Soho Moon Pictures, Musée du Louvre Johannes Vermeer, The Lacemaker © 2005 Musée du Louvre / Angèle Dequier 4 THE EXHIBITION LAYOUT Text of the didactic panels of the exhibition INTRODUCTION ‘The Sphinx of Delft’: this appellation, first coined in the nineteenth century, conjures up an image of Johannes Vermeer (1632–1675) as an enigmatic and solitary figure. This exhibition, by contrast, looks at Vermeer’s paintings not in splendid isolation but as part of a network which extends far beyond them. The Golden Age of elegant Dutch genre painting was the period from 1650 to 1680. This type of painting, called ‘modern’ in its day, depicted activities which are ‘everyday’ only in name. Through its artists’ opulent style the Republic of the United Provinces could lay claim to equal stature with the monarchies of the day. Vermeer was one of the masters of this style, alongside Gerrit Dou, Gerard ter Borch, Frans van Mieris, Gabriel Metsu, Pieter de Hooch, and others, who were active in Leiden, Deventer, Amsterdam, and Delft, and acquainted with each other’s work. Their relations took the form by turns of homage, indirect allusion, and outright metamorphosis. Seen from this perspective, Vermeer’s creations acquire an additional layer of meaning, as a record of what he rejected and what he admired. WEIGHING The beauty of Vermeer’s Woman Holding a Balance is inherent in the arrested gesture of an opulently dressed young woman seen in a dimly lit interior. The same qualities of balance and grace are present in Woman Weighing Coins by Pieter de Hooch, a painter who was active for several years in Delft. The similarities between the two canvases can only be explained by the fact that at least one of the painters was familiar with the other’s work. Vermeer seems to have drawn upon his fellow-artist’s matter-of-fact depiction of a woman weighing a group of coins. But here the scene becomes a subject for contemplation, for the female figure is portrayed against the background of the Last Judgement on the wall, a painting within the painting. The use of light to make a moral point, a particular way of enveloping people and objects in mystery and profound thought – this is pure Vermeer. The enigma of the connection between the two paintings, however, remains unresolved. De Hooch had moved from Delft to Amsterdam by the time they were painted, and we do not know when he showed his Woman Weighing Coins to Vermeer. Pieter de Hooch, Woman with a Balance, Berlin, Staatliche Museen zu Johannes Vermeer, Woman with a Balance, Washington, National Gallery of Berlin, Preußischer Kulturbesitz, Gemäldegalerie / Property of Kaiser Art, Widener Collection © Washington, National Gallery of Art Friedrich Museumsverein © BPK, Berlin, Dist. RMN-Grand Palais / Jörg P.Anders 5 LOVE LETTERS Since they lived in the most thoroughly urbanised country of 17th-century Europe, it is not surprising that very many Dutch citizens could read and write.
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