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Da Vermeer a Kandinsky. Capolavori dai musei del mondo a Rimini
Jan. 21 – June 3, 2012
Castel Sismondo
Piazza Malatesta
47900 Rimini, Italy
http://www.lineadombra.it/da-vermeer-a-kandinsky/la-mostra
Light Structure – The Light in the Age of Rembrandt and Vermeer
18 November 2011 – 26 February 2012
Museum Hessen Kassel
Seventy superb works from the Baroque age of painting will be displayed in the upcoming exhibition Light Structure: The Light in the Age of Rembrandt and Vermeer, in William Castle Museum in Kassel. The exhibition will address one of the most notable aspects of European painting: the translation of light in painting. Attempts on the part of painters to render the myriad effects of light with paint were paralleled by intense scientific research on light.
In cooperation with the Berlin research group Historical Light Structure (http://www.lichtgefuege.de/index.html) the exhibition examines the different aspects of light painting in the 17th century on the basis of paintings, graphics and optical devices, also in view of the contemporary scientific treatises. The starting point is the art of the 15th and 16 Century and the fundamental innovations of Caravaggio. North of the Alps have been taken including those of Utrecht artists like Gerard van Honthorst and developed.
Different areas of the exhibition are dedicated to the particular diversity and range of Dutch paintings of light, including day light, nocturnal landscapes, interior and portrait paintings. Vermeer’s Girl with a Glass of Wine will be one of the principal works of the exhibition.
museum website: http://www.museum-kassel.de/index_navi.php?parent=1707
CLICK HERE to access high resolution image
The Rijksmuseum has updated their hi-res image of the Woman in Blue Reading a Letter after its recent restoration. At first sight it looks a bit disjointed as pictures always do after restoration. The whole much cooler in hue now the long winding scarf-like piece of cloth on the table, once fairly muddled, can be made out a bit better recalling a similar scarf-like object that drapes down in the Art of Painting. The figure has gained much force and now stands out of the picture more than it did before the dark, yellow varnish was removed. The painting now appears to have greater spatial resonance and sense of volume.
Some color can be made out in the map as well as a few topographical features which had been overpainted. A row of discreet brass buttons with tiny highlights now run along the side of the foreground chair which had been completely obscured by retouches.
Human Connections in the Age of Vermeer
by Arthur K. Wheelock Jr. and Danielle H.A.C. Lokin
Scala Publishers Ltd
2011
This book focuses on the many forms of communication that existed in seventeenth-century Dutch society between family members, lovers, and professional acquaintances, both present and absent. The forty-four carefully selected Dutch genre paintings include major works by many of the finest masters of the period, including Johannes Vermeer, Pieter de Hooch, Gerard ter Borch and Gabriel Metsu. Vermeer’s three masterpieces about love letters form the core of the exhibition as they are profound examples of the power of communication. Dutch artists of the seventeenth century portrayed the wide range of emotions elicited by the various forms of communication, not only in the manner in which they render gestures and facial expressions of personal interactions, but also in the ways in which they show men and women responding to the written word. The painters often introduced objects from daily life that had symbolic implications, among them musical instruments, to enrich the pictorial narratives of their scenes. Published in conjunction with the exhibition Communication: Visualizing the Human Connection in the Age of Vermeer (2011-2012), which celebrates the 400th anniversary of the diplomatic exchanges between Japan and the Netherlands, this book connects the pictorial and the literary aspects of Dutch cultural traditions during the Golden Age.
The Fitzwilliman Museum offers a series of free public lectures to accompany the exquisite exhibition that features four Vermeer paintings including the masterful Music Lesson (rarely on public display) and the Louvre Lacemaker.
All talks are on Friday, 13:15 – 14:00
28 October-2011
Love for sale in the 17rh century: Secrets of the oldest profession.
Colin Wiggins, The National Gallery
18 Novermber-2011
The Rediscovery of Vermeer and the reception of genre painting.
Dr Merideth Hale, History of Art Deprartment, University of Cambridge
Vermeer’s Women: Secrets and Silence
by Marjorie E. Wieseman, Mr. Wayne Franits & H. Perry Chapman
2011
224 pages, Yale University Press
product description from Amazon.com:
Focusing on the extraordinary Lacemaker from the Musée du Louvre, this beautiful book investigates the subtle and enigmatic paintings by Johannes Vermeer that celebrate the intimacy of the Dutch household. Moments frozen in paint that reveal young women sewing, reading or playing musical instruments, captured in Vermeer’s uniquely luminous style, recreate a silent and often mysterious domestic realm, closed to the outside world, and inhabited almost exclusively by women and children.
Three internationally recognized experts in the field explain why women engaged in mundane domestic tasks, or in pleasurable pastimes such as music making, writing letters, or adjusting their toilette, comprise some of the most popular Dutch paintings of the seventeenth century. Among the most intriguing of these compositions are those that consciously avoid any engagement with the viewer. Rather than acknowledging our presence, figures avert their gazes or turn their backs upon us; they stare moodily into space or focus intently on the activities at hand. In viewing these paintings, we have the impression that we have stumbled upon a private world kept hidden from casual regard.
The ravishingly beautiful paintings of Vermeer are perhaps the most poetic evocations of this secretive world, but other Dutch painters sought to imbue simple domestic scenes with an air of silent mystery, and the book also features works by some of the most important masters of 17th-century Dutch genre painting, among them Gerard ter Borch, Gerrit Dou, Pieter de Hooch, Nicolaes Maes, and Jan Steen.
Vermeer’s Women: Secrets and Silence
October 5, 2011 – January 15, 2012
The Fitzwilliam Museum, Cambridge, England
from the museum website:
At the heart of this visually stunning exhibition is Vermeer’s extraordinary painting The Lacemaker (c.1669-70) – one of the Musée du Louvre’s most famous works, rarely seen outside Paris and now on loan to the UK for the first time. The painting will be joined by a choice selection of other key works by Vermeer representing the pinnacle of his mature career, and over thirty other masterpieces of genre painting from the Dutch “Golden Age.” Featuring works from museums and private collections in the UK, Europe and the USA – many of which have never been on public display in Britain – this Cambridge showing will be the only chance to see these masterworks brought together in one location.
http://www.fitzmuseum.cam.ac.uk/whatson/exhibitions/article.html?2793
The four Vermeer paintings of the exhibiton are: The Music Lesson, A Lady Seated at the Virginal, The Lacemaker and Young Woman Seated at a Virginal(private collection, New York).
http://www.suebond.co.uk/events/release.php?eventid=477&preview=
During the planned restoration of the Kenwood House in 2012, Vermeer’s Guitar Player will be displayed publically in another art gallery. The exact dates and location of the picture will be announced in early 2012.
Love Letter by Vermeer. From the collection of the Rijksmuseum, Amsterdam.
In the Masterpieces from the World`s Museums in the Hermitage series
14 October – 6 November 2011
Italian Cabinet (233), New Hermitage
St Petersburg
Thanks to the long-term cooperation between the State Hermitage and the Rijksmuseum in Amsterdam the visitors can see today the famous Love Letter, a masterpiece by Johannes Vermeer from the collection of the Dutch museum, in one of the Hermitage rooms.
http://www.hermitagemuseum.org/html_En/00/hm0_4_484.html
drawn from the THE SACRAMENTO BEE.
http://www.sacbee.com/2011/06/24/3725190/can-whitey-bulger-help-solve-biggest.html
With the arrest Wednesday of notorious Boston crime boss James “Whitey” Bulger, many in the art world are now asking: Could it provide a break in the greatest art heist in American history which included Vermeer’s Concert? Rumors have long swirled that Bulger, the head of the city’s powerful Irish-American mob at the time, may have played a role – or must have known who did. Some have speculated that he stashed the stolen masterpieces away to use as a “get-out-of-jail-free card” if he was ever caught. Others think he sent the paintings to allies in the Irish Republican Army to use as a bargaining chip. The Gardner Museum had no comment Thursday on the arrest other than a Tweet saying, “Until a recovery is made, our work continues.” Many who have studied the case are similarly skeptical about Bulger’s direct involvement. Last year, investigators in the Gardner case said there was no evidence in the mountains of wiretaps and other records to link Bulger to the crime.
Other than the previously announced (see entry below for details) world premiere of Vermeer’s Woman in Blue Reading a Letter after its restoration, Lady Writing and the Lady Writing a Letter with her Maid will be a part of the exhibition Communication: Visualizing Human Connection in the Age of Vermeer in Japan. Here are the final dates.
Kyoto Municipal Museum of Art, Kyoto: 25 June – 16 Oct 2011
Miyagi Museum of Art, Sendai: 27 Oct-2011 – 12 Dec 2011
The Bunkamura Museum of Art, Tokyo: 23 Dec – 14 March 2012
The Japanese exhibition, Communication: Visualizing Human Connection in the Age of Vermeer (curated by Arthur Wheelock) will feature three excellent Vermeers: Woman in Blue Reading a Letter (Rijksmuseum), A Ladt Writing (National Gallery of Art) and Lady Writing a Letter with her Maid (National Gallery of Ireland) plus over forty other paintings. All three Vermeer’s will travel to all three venues, Kyoto, Tokyo and Sendai. There will also be an English edition catalogue (Human Connections in the Age of Vermeer) published by Scala in addition to the Japanese language catalogue.
first venue:
Kyoto Municipal Museum, Kyoto
June 25 – October 16, 2011
second venue:
Bunkamura Museum of Art, Tokyo
December 23, 2001 – March 14, 2012
to be announced:
The Miyagi Museum of Art
34-1 Kawauchi-Motohasekura, Aoba-ku, Sendai, Miyagi
An Austrian panel recently rejected a claim for a Vermeer painting by the heirs of a man who sold it to Adolf Hitler, saying there was no evidence the sale was forced or that the seller was persecuted. Austria’s art restitution panel threw out the argument by the heirs of Jaromir Czernin that Hitler’s acquisition amounted to a “sale under duress” and should be nullified. The panel instead recommended that Austria keeps the painting. “There is no reason to assume that the sale of The Art of Painting by Jaromir Czernin to Adolf Hitler was an invalid transaction,” the panel said in a statement on its website.
http://www.bloomberg.com/news/2011-03-18/heirs-claim-for-hitler-s-vermeer-painting-is-rejected-by-austrian-panel.html
http://www.essentialvermeer.com/misc/VermeerAnalysis.pdf
Friday March 18, the Austrian art restitution advisory committee will meet to discuss the ownership of the most important work of art still disputed in the aftermath of WWII, Vermeer’s Art of Painting. The case is not closed in favor of the Viennese art institution. Randol Schoenberg, the heavy-weight Los Angeles attorney who represents Helga Conrad, the step-daughter of Jaromir Czernin-Morzin who in turn sold the work to Hitler, has litigated several prominent Nazi-looted art cases., including Republic of Austria vs. Altmann. Schoenberg won the return of five paintings by Gustav Klimt valued at over $300 million.
Read an article by Randol Schoenberg here.
The painting’s afterlife in cluding the Czernin case.
in a nutshell (source: Wikipedia):
After the Nazi invasion of Austria, top Nazi officials including Reichsmarschall Hermann Göring attempted to acquire the painting. It was finally acquired from its then owner, Count Jaromir Czernin by Adolf Hitler for his personal collection at a price of 1.65 million Reichsmark through his agent, Hans Posse on November 20, 1940.[7] The painting was rescued from a salt mine at the end of World War II in 1945, where it was preserved from Allied bombing raids, with other works of art.
The Americans presented the painting to the Austrian Government in 1946, since the Czernin family were deemed to have sold it voluntarily, without undue force from Hitler. It is now the property of the State of Austria.
In August 2009 a request was submitted by the heirs of the Czernin family to Austria’s culture ministry for the return of the painting. A previous request was submitted in 1960s however it was “rejected on the grounds that the sale had been voluntary and the price had been adequate.” A 1998 restitution law which pertains to public institutions has bolstered the family’s legal position.
Communication: Visualizing Human Connection in the Age of Vermeer
Kyoto Municipal Museum, Kyoto
June 25 – October 16, 2011
curator:
Arthur K. Wheelock Jr.
second venue:
Bunkamura Museum of Art, Tokyo
December 23, 2001 – March 14, 2012
date to be announced:
The Miyagi Museum of Art
34-1 Kawauchi-Motohasekura, Aoba-ku, Sendai, Miyagi
After the arrival of Vermeer’s Geographer, it’s the world premiere of Vermeer’s Woman in Blue Reading a Letter after its restoration.
exhibition website (in Japanese only):
<http://vermeer-message.com/>
“The Art of Music”
in APOLLO, March, 2011
Desmond Shawe-Taylor
The essay can be read online at:
<http://www.apollo-magazine.com/features/6719228/the-art-of-music.thtml>
ESSENTIAL VERMEER FACEBOOK
<http://www.facebook.com/pages/Essential-Vermeer/133691276693957>
What does the global social network Facebook have to do with Vermeer? At first glance very little. Take a look at many of the art institutions’ Facebook pages that tend to be one-way monologues with insignificant interaction. People’s comments really don’t seem to matter.
And yet the chance to bring the Vermeer community a bit closer might be worth a try. I have found Facebook surprisingly efficient for diffusing news rapidly and opening lines of quick, two-way communication.
So what can you do? Have a look, leave a comment and keep on coming I’ll keep on plugging away for a year or so – the time necessary to evaluate any web initiative – and see if a marriage between social networking and art history makes any sense.
Google Art: Although the scans of the single paintings are admirable and perhaps even useful, the museum tours leave much to desire. The Frick is specially low quality and captures literally nothing of atmosphere that makes this museum unique. I suppose it’s all done efficiently as possible, but still, one could reasonably expect more from Google. Wheeling around a hi-tech camera cart up and down the halls does not garuantee results not matter how much the devise costs and even if your name is Google. Technology must be used sensibly or otherwise we just get just one more silly toy. D- for effort, there are other realites outside Silicon Valley.
Vermeer’s Women: Secrets and Silence
October 5, 2011 – January 15, 2012
The Fitzwilliam Museum, Cambridge, England
from the museum website:
At the heart of this visually stunning exhibition is Vermeer’s extraordinary painting The Lacemaker (c.1669-70) – one of the Musée du Louvre’s most famous works, rarely seen outside Paris and now on loan to the UK for the first time. The painting will be joined by a choice selection of other key works by Vermeer representing the pinnacle of his mature career, and over thirty other masterpieces of genre painting from the Dutch “Golden Age.” Featuring works from museums and private collections in the UK, Europe and the USA – many of which have never been on public display in Britain – this Cambridge showing will be the only chance to see these masterworks brought together in one location.
<http://www.fitzmuseum.cam.ac.uk/whatson/exhibitions/article.html?2793>
I’m not losing much sleep over Google’s Art Project virtual tours and neither is Sebastian Smee at the Boston Globe: Is Google Art Project second-rate?
Compare Synthescape’s virtual tour of the Couldtard Gallery to any on Google’s overblown horror shows. Some people actually get things right.
The National Gallery of Scotland has done a succinct feature on its Vermeer, Christ in the House of Martha and Mary complete with a video. Nice to see the museums are awakening to the immense possibilities that the web offers for art history-related applications although they still have quite a bit of sleep in their eyes. Here’s where to go:
http://www.nationalgalleries.org/collection/in_focus/4:20388/20377/20377
The Young Vermeer in Context
5 March 2011, 2pm – 6:30pm
National Gallery of Scotland
The Mound
Edinburgh EH2 2EL
United Kingdom
information form the museum:
The young Vermeer presents a unique opportunity to compare directly the three earliest paintings by Johannes Vermeer. On occasion of this exhibition the National Gallery of Scotland is staging a study afternoon, bringing together a distinguished group of international experts. Focussing on Vermeer’s early career the talks will revisit his start as a history painter and shift to genre painting, his artistic and social environment, and the rediscovery of “Young Vermeer” in the 19th century. The podium will offer the opportunity to get involved and discuss these important paintings with the experts and to discover more about the development of one of the world’s most celebrated artists.
speakers:
- Dr. Albert Blankert, Independent Scholar, The Hague
- Edwin Buijsen, Head of Collections, Royal Picture Gallery Mauritshuis, The Hague
- Dr. Adriaan E. Waiboer, Curator of Northern European Art, National Gallery of Ireland, Dublin
podium:
- Professor Christopher Brown, Director, The Ashmolean Museum, Oxford
- Professor Gregor J. M. Weber, Head of the Department of Fine Arts, Rijksmuseum, Amsterdam
moderation:
- Dr Tico Seifert Senior Curator of Northern
European Art, National Gallery of Scotland, Edinburgh
1.30 – 2pm, registration (HLT)
2 – 5pm, study afternoon (HLT)
5 – 6.30pm, Wine reception and private view (NG)
Tickets: £12 (£10 concessions) are available from
the Information Desk at the National Gallery Complex,
or by calling 0131 624 6560, Monday
see museum flyer:
http://www.codart.nl/images/02526_NGS_
TheYoungVermeerInContext%20A5%20Flyer%28Final%29v4.pdf
After the exhibition at the at the Guggenheim Museum Bilbao, Vermeer’s Geographer continues its exodus to Tokyo, Aichi, then further overseas to Wellington, New Zealand and Melbourne, Australia. The Städel Museum in Frankfurt, which is currently closed for full renovation, assures it that all its paintings in the exhibition will be back home for reopening in late 2011 or 2012. More details when available
I agree. I checked it out because I was hoping to explore museums that I haven’t seen yet. I was intrigued about the potential of wandering through, selecting an image, and learning more about an artist.
The navigation through the museums was slow, awkward, and very poor quality.
Maybe in another 10 years…
You seem to be working from the assumption that it was a bumbling mistake and not a conscious decision for Google and their partner museums to limit the quality of the street view technology scans.
Partner museums wanted to give a taste of these great centres, not replace or even recreate them. The included high res scans are to draw focus to some important/interesting works. The days of the cultural centres of the world being entirely digitised and rendered in phenomenal detail, even 3D are not here yet.
It’s amazing that people can find the time and energy to poke holes in something that can only work to increase awareness of museums and art. Do you think anyone that has looked at the Google Art Project has thrown their hands up in disgust and said “I’m NEVER going there!”? Unlikely.
The numerous students and scholars I have received feedback from have stated it is nice to have another resource, particularly one that is free and (almost) universally accessible.
The amount of hits that the project has had far dwarfs any art site or blog in existence. In that respect, from the simple perspective of depth of reach, the project has already suceeded in sparking a further interest in art and museums.
Kind Regards
H
H,
I really needn’t rustle up any significant amount of energy to react critically when I see something done poorly as Google museum tours nor do I need much time to post a few lines. Rather, I invest much, much more time energy in modestly crafting my Essential Vermeer website hoping to provide food for thought for newcomers and seasoned art historians alike (no easy task I assure you) hoping, too, that the neophytes will find their own reasons to go see the real things.
The people who will naturally gravitate towards paintings in museums in search of a meaningful relationship with art (not those who are interested in saying “I was there’” or having something to talk about the next cocktail party) know how to get there by themselves. Excellent reproductions of masterpieces are literally everywhere. And if you don’t know more or less what museums look like inside by now, the icy walls and dead pictures of Goolge museums won’t make much of a difference either way. As usual, with Google it’s essentially big numbers, be they millions of hits per hour or billions of pixels. Perhaps it’s their professional deformation.
As I said, the scans are another matter, very well done AND useful. However, it would be very instructive to open a discourse on the difference between paintings and images before it’s too late and they become even further confused.
Thanks for sharing your thoughts.
PS. I will concede that the horrible resolution was mutually agreed upon, but I have yet to understand why a navigation system should provoke nausea, unless, of course there’s some behind-the-scenes motive for that too.