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1. Vermeer’s Music Lesson travels to the Netherlands in 2016

Masters of the Everyday: Dutch Artists in the Age of Vermeer. An exhibition from the British Royal Collection
29 September 2016 – 8 January 2017
The Muaritshuis, The Hague

from the Mauritshuis website:
A royal visit from Great Britain: in the autumn of 2016, the Mauritshuis will exhibit a selection of seventeenth-century Dutch paintings from the British Royal Collection. The selection contains representations of daily life as depicted by painters of the Dutch Golden Age, and offers an exceptional chance to see over twenty masterpieces from the Royal Collection, the largest loan to a Dutch museum to date. The Royal Collection, held in trust by Her Majesty Queen Elizabeth II, contains unique highlights from the oeuvres of famous painters such as Gerard ter Borch, Pieter de Hooch, Gabriel Metsu, and Jan Steen. The highlight of the exhibition is The Music Lesson by Johannes Vermeer.

http://www.mauritshuis.nl/en/discover/exhibitions/upcoming/

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2. Vermeer’s Woman in Blue Reading a Letter travels to San Diego

timken

The Private World of Vermeer
The Timken Museum, San Diego CA
May 14 – Sept. 11, 2015

The Timken Museum of Art will exhibit one of the finest works by Vermeer from May 14 through Sept. 11, 2015. The exhibition, The Private World of Vermeer, showcases his masterpiece, Woman in Blue Reading a Letter. This generous loan from the Rijksmuseum in Amsterdam marks the first appearance of this remarkable painting in San Diego. The Timken’s special installation allows visitors to have an intimate experience with Woman in Blue Reading a Letter and highlights one of the most celebrated painters of the Dutch Golden Age.

The four-month exhibition also features a variety of events, which include noted scholars on Vermeer. Many of the events are free to the public and are designed to give guests an enhanced understanding of the Vermeer and other masterpieces in the Timken’s collection:

1. Guest Lecture
“Extraordinary Observation: Vermeer’s Woman in Blue”
speaker: Anne Woollett (curator, department of paintings, J. Paul Getty Museum)
Monday, May 18 at 10 a.m.
admission: Free

In its compositional refinement and visual impact, Woman in Blue Reading a Letter represents a turning point in Vermeer’s career. This lecture considers Vermeer’s signature approach—its rapid development in previous works, and the sophisticated handling of space and light in this work and the so-called “pearl pictures.”

Anne Woollett is curator at the department of paintings at the J. Paul Getty Museum, Los Angeles. She specializes in northern European painting before 1800, and is currently working on a catalogue the Getty’s Flemish paintings.

2. Art in the Evening Lecture and Reception
speaker: Arthur K. Wheelock, curator of Northern Baroque painting, National Gallery of Art, Washington, D.C.
Wednesday, May 27 at 6:30 p.m.
admission: $35 member / $45 non-member

Arthur K. Wheelock is the curator of Northern Baroque painting, National Gallery of Art, Washington, D.C. and author of the 1995 publication Vermeer and the Art of Painting. He is one of the most prolific writers on Vermeer and offers numerous insights linking painting techniques and artistry.

3. Guest Lecture
“Vermeer’s Time: The Woman in Blue”
speaker: Ann Jensen Adams (professor, UC Santa Barbara)
Monday, June 8 at 10 a.m.
admission: Free

Vermeer’s paintings of figures engaged in quiet activities are masterpieces of silence. They have also been described as “stilled lives.”This lecture discusses Vermeer’s Woman in Blue Reading a Letter in relation to contemporaneous concerns about the passage of time, and its measurement.

Ann Jensen Adams is a professor and graduate advisor at UC Santa Barbara, department of the history of art and architecture. Her research includes 17th-century Dutch art, particularly portraiture, and the impact upon imagery of early modern developments in natural history.

4. Free Family Fun
Tall Tales at the Timken
Saturday, June 13 at 11 a.m
speaker: Harlynne Geisler .
Admission: Free

Bring your kids to explore Vermeer’s Woman in Blue Reading a Letter. Professional storyteller Harlynne Geisler will weave fanciful tales around this masterwork that was created 350 years ago. Ages 5+ are welcome. No reservations required.

5. Art in the Afternoon Gallery Talk
“The Unseen Window in Vermeer’s “Woman in Blue Reading a Letter”
Wednesday, June 24 at 12:30 p.m.
speaker: Karen Hellman (assistant curator, department of photographs, J. Paul Getty Museum)
admission: Free

Although the canvases of Vermeer were created two centuries prior to the invention of photography, their quiet, luminous depictions of interior scenes have often been related to “photographic” qualities. This presentation discusses a few ways in which photography can offer a new lens through which to view Woman in Blue Reading a Letter.

Karen Hellman is an assistant curator in the department of photographs at the J. Paul Getty Museum. She is the curator of the exhibitions, “In Focus: Picturing Landscape” (2012), “At the Window: The Photographer’s View” (2013), and “In Focus: Ansel Adams” (2014). Currently she is working on a forthcoming exhibition “In Focus: Daguerreotypes” (fall 2015). She received her master’s in art history from the Institute of Fine Arts at New York University, in 2004, and she received her doctorate in art history from The Graduate Center, The City University of New York, in 2010.

6. Art in the Afternoon Gallery Talk
“Discordant Serenity and the Painting of Vermeer”
Wednesday, July 1 at 12:30 p.m.
speaker: Claudine Dixon (curatorial administrator, prints and drawings, Los Angeles County Museum of Art)
Admission: Free

Vermeer’s Woman in Blue Reading a Letter will be discussed in the context of some of the historical and contemporary events surrounding the painting and its fantastic journey from 17th century Delft in the Netherlands to recent visits to Southern California. The writings of various authors, including essayist Lawrence Weschler and poet W. H. Auden, offer variant paths to consider thoughts and musings about history and art, allowing us to look at our relationship to this picture and think about a perspective that lies beyond the painted surface.

Claudine Dixon is the curatorial administrator for the department of prints and drawings at the LACMA. Before joining LACMA, Claudine worked at the UCLA Grunwald Center for the Graphic Arts at the Hammer Museum. In addition to museum positions, she has taught art history courses for UCLA Extension, most notably on German art of the 19th and 20th centuries, and Rembrandt and Dutch art of the 17th century. 

7. Guest Lecture
“The Interior Life of Vermeer”
Monday, July 13 at 10 a.m.
Amy Walsh (curator of European paintings, Los Angeles County Museum of Art)
admission: Free

Gallery talks feature leading curators, historians, scholars, and artists. Guests will walk, talk, and explore the Timken collection and special exhibitions. Registration is not required.

For more events and details about The Private World of Vermeer, visit the website at www.timkenmuseum.org or call (619) 239-5548.

About the Timken Museum of Art
Known as one of the finest small museums in the world, the Timken Museum of Art celebrates its 50th anniversary in 2015, and provides visitors with an accessible and enriching cultural experience featuring a beautiful collection, intimate surroundings, and free admission.

The museum is open from 10 a.m. to 4:30 p.m. Tuesday through Saturday and Sundays, noon to 4:30 p.m. It is closed on Mondays and major holidays. For more information, visit http://www.timkenmuseum.org. Follow the museum on Facebook or Twitter at @TimkenArtMuseum or call (619) 239-5548.

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3. Early Vermeer(?) exhibited in Tokyo

praxedisnewnew

The National Museum of Western Art, Tokyo
from March 17, 2015
http://www.nmwa.go.jp/en/information/whats-new.html#news20150313

The Saint Praxedis, which is believed by some scholars to be an authentic early work by Vermeer will be on public display for the first time since it was auctioned by Christie’s on July 8, 2014 for $10,687,160 (£6,242,500). The painting, exhibited as “attributed to Vermeer,” in the Permanent Collection Galleries (Main Building, 2nd Floor).

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4. Vermeer-related lecture in Boston

LauraJSnyder

Eye of the Beholder: Johannes Vermeer, Antoni van Leeuwenhoek, and the Reinvention of Seeing
Laura Snyder
1 Session: Wednesday, April 8, 7:00–8:30pm
location: The Arnold Arboretum of Havard Univerity, 125 Arborway, Boston, MA 02130, Hunnewell Building

Fee $5 member, $10 nonmember Students: Email to register for free.

from the The Arnold Arboretum of Havard Univerity website:
“See for yourself!” was the clarion call of the 1600s. Scientists peered at nature through microscopes and telescopes, making the discoveries in astronomy, physics, chemistry, and anatomy that ignited the Scientific Revolution. Artists investigated nature with lenses, mirrors, and camera obscuras, creating extraordinarily detailed paintings of flowers and insects, and scenes filled with realistic effects of light, shadow, and color. By extending the reach of sight the new optical instruments prompted the realization that there is more than meets the eye. But they also raised questions about how we see and what it means to see. In answering these questions, scientists and artists in Delft changed how we perceive the world. Author of The Philosophical Breakfast Club, a Scientific American Notable Book, Laura Snyder returns to the Arboretum to share her latest book, Eye of the Beholder, in which she pairs painter with natural philosopher to explain the revelatory ways of seeing in the 17th century.

Fee $5 member, $10 nonmember Students: Email to register for free.

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5. Vermeer-related lecture

steadman

LUNCH HOUR LECTURE: VERMEER’S CAMERA AND TIM’S VERMEER
Philip Steadman
Darwin Lecture Theatre, Darwin Building, London
March 5, 2015, 13:15-13:55
price: free
contact: +44 (0)20 3108 3841 | events@ucl.ac.uk
event page

In 2001 Philip Steadman published Vermeer’s Camera, a book that offered new evidence that the great Dutch painter relied on optical methods. An American video engineer Tim Jenison read the book and, believing he could take the argument further, proposed a simple arrangement of lens and mirrors that Vermeer might have employed. Jenison used this setup to paint a version of Vermeer’s Music Lesson in the Queen’s collection. The process was filmed for the Oscar-shortlisted documentary Tim’s Vermeer, released in 2014. Jenison’s method throws more light, literally, on how Vermeer could have achieved his distinctively “photographic” tonal effects.

The lecture will be streamed live online and recorded for YouTube or downloaded.

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6. Walter Liedtke dies in tragic train crash

walter

Walter Liedtke, Curator of the Metropolitan Museum of Art and renowned Vermeer expert, died in the train incident outside New York on the evening of February 3. Walter was returning to his home in Bedford Hills, where he lived with his wife, Nancy. As was his habit, he was riding the front “quiet car,” in which he found the tranquility necessary for writing and reading. Five other people died in the accident.

Walter conjugated culture, curiosity, passion and rigor in whatever he wrote and in all the exhibitions he curated, whether it be the monumental Vermeer and the Delft School or the intimately scaled Vermeer’s Masterpiece: ‘The Milkmaid’. The catalogue of the former remains a fundamental contribution to the proper contextualization of the artist. His monograph (Vermeer: The Complete Paintings) constitutes a finely nuanced reading of the artist’s unique accomplishments in the light of modern Vermeer scholarship. But Walter’s interest in things Vermeer was wide and varied enough to comprise a computerized analysis of the weave of the artist’s canvases. 

Walter’s energy, brilliance and organizational capacity allowed him to publish extensively and curate a number of key exhibitions at the Metropolitan.

His most important exhibitions include:
Vermeer: il secolo d’oro dell’arte olandese (September 2012-January 2013), Rembrandt at Work: The Great Portrait from Kenwood House (April-May 2012), Vermeer’s Masterpiece: The Milkmaid (September-November 2009), The Age of Rembrandt: Dutch Paintings in the Metropolitan Museum of Art (September 2007-January 2008) and Vermeer and the Delft School (June-September 2001). The latter brought in over 500,000 visitors to the Metropolitan.

His most important publications include:
Vermeer: The Complete Paintings (2008), Dutch Paintings in the Metropolitan Museum of Art (2001), Vermeer and the Delft School (1995), Rembrandt/not Rembrandt in the Metropolitan Museum of Art: Aspects of Connoisseurship (1992) and Flemish Paintings in the Metropolitan Museum of Art (1982).

remembering Walter:

Walter Liedtke, Curator at Metropolitan Museum of Art, Dies at 69
—Randy Kennedy
http://www.nytimes.com/2015/02/05/arts/design/walter-liedtke-curator-at-metropolitan-museum-of-art-dies-at-69.html?_r=0 \>

Walter Liedtke: A Reflection and Appreciation
—Arthur K. Wheelock Jr.
http://www.wsj.com/articles/walter-liedtke-a-reflection-and-appreciation-1423263645

Walter Liedtke, Our Friend and Distinguished Colleague
—Thomas P. Campbell
http://www.metmuseum.org/about-the-museum/now-at-the-met/2015/walter-liedtke

The young Walter Liedtke
—Garry Schwartz
http://www.garyschwartzarthistorian.nl/schwartzlist/?id=198

How I knew Walter
—Jonathan Janson

I first met Walter thanks to a Vermeer Newsletter in which among other things I had announced a trip to New York. Walter immediately emailed me suggesting we see each other at the MET. This surprised me in that experience had taught me that members of major museums are not inclined to extend personal invitations to those outside the institutional setting encountered via internet. When we got together in New York, Walter was exceptionally open, frank and questioning, demonstrating an interest in the functioning and goals of my Vermeer website as well. After this visit he was always quick to reply to any question I might have.

Some years later on the occasion of a Vermeer and Dutch painting exhibition in Rome which he had curated (together with Arthur Wheelock), Walter and Nancy broke away from duties and Roman pleasures for a casual dinner at my home which turned into a Vermeer marathon. Conversation ranged from questions of attribution, art history on the internet, the organization of Italian art museums and painting technique, which Walter was keenly interested in knowing that I am a painter. Despite his daunting knowledge of Dutch painting and his austere public demeanor, Walter never once assumed the role of an authority whose opinions on Vermeer and art with a capital A are gospel. On the contrary.

Towards the end of autumn, Walter and Nancy returned to Rome. We visited the exhibition merging ourselves with the Italian crowd. Walter examined the pictures which he knew by rote as if he had never seen them before. We debated if the Young Lady Seated at the Virginal showed the charisma of a real Vermeer. To my personal reserves Walter responded that a picture does not necessarily have to please to be a Vermeer. I bade goodbye to Walter and Nancy goodbye who were swept away in a series of appointments with museum personnel and influential collectors.

In the last years we continued to have email exchanges. In the last one I received he wrote he was at the moment unable to answer by question becasue “I’ve been up since 5:00 dealing with an urgent El Greco project.”

When a friend from Seattle emailed me the day after Walter’s tragic death, I was stunned that a man who found time for everything and for everybody suddenly had no more time, but still, I am sure, many people around him.

video testimonies:
Mr. Liedtke’s Metropolitan presentation, Connections/Living with Vermeer:
http://www.metmuseum.org/connections/living_with_vermeer#/Feature/

Youtube video Mr. Liedtke’s discussion of Rembrandt’s Aristotle and Bust:
https://www.youtube.com/watch?v=B2dCeTPDEKY

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7. Surprise exhibition of Vermeer’s Woman in Blue Reading a Letter in Minneapolis

inblue

MASTERPIECE IN FOCUS: JOHANNES VERMEER
January 16 – May 3, 2015
Minneapolis Institute of Arts (Cargill Gallery)
Minneapolis, Minn.
price: free of charge
http://new.artsmia.org/masterpiece-in-focus/

article:
“On Vermeer’s Woman Reading a Letter: A Q&A with MIA’s Patrick Noon”
by Pamela Espeland
http://www.minnpost.com/artscape/2015/01/vermeers-woman-reading-letter-qa-mias-patrick-noon

lecture:
Lawrence Weschler | “Posers: Marvel, Majesty and Sovereignty among the Habsburgs and in Vermeer”
Sunday, April 19, 2015 at 2:00 pm

http://new.artsmia.org/event/lawrence-weschler-%C7%80-posers-marvel-majesty-and-sovereignty-among-the-habsburgs-and-in-vermeer/

With one of the world’s finest Vermeer paintings presently residing at the MIA alongside a magnificent exhibition of Habsburg splendors, Lawrence Weschler will unpack a posit about posing and the posed. Kings, queens, noblemen, and noblewomen are continually striking a pose, but who exactly is posing whom (and what?) when a painter attempts to capture that stance? And what was Vermeer up to when he set about capturing something altogether new and different in his portraits? In other words, what does it mean to be sovereign—sovereign over what, in whose eyes, and to what end?

Lawrence Weschler is director emeritus of the New York Institute for the Humanities at NYU and author of such books as Vermeer in Bosnia and Mr. Wilson’s Cabinet of Wonder.

$10; $5 MIA members; free for Paintings Affinity Group members. To register, call (612) 870-6323 or reserve online.

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8. Two Vermeers to be shown in Boston

lady

CLASS DISTINCTIONS: DUTCH PAINTING IN THE AGE OF REMBRANDT AND VERMEER
Museum of Fine Arts, Boston (Ann and Graham Gund Gallery)
11 Oct. 2015 – 18 Jan., 2016
exhibition curators – Ronni Baer and William and Ann Elfers

from the museum website:
Organized by the MFA, this groundbreaking exhibition proposes a new approach to the understanding of 17th-century Dutch painting. Included are 75 carefully selected and beautifully preserved portraits, genre scenes, landscapes and seascapes borrowed from European and American public and private collections—including masterpieces never before seen in the US. The show will reflect, for the first time, the ways in which art signals the socioeconomic groups of the new Dutch Republic, from the Princes of Orange to the most indigent of citizens. Class distinctions had meaning and were expressed in the type of work depicted (or the lack thereof), the costumes, a figure’s comportment and behavior, or his physical environment. Arranged according to 17th-century ideas about social stratification, paintings by artists such as Rembrandt, Vermeer, Jan Steen, Pieter de Hooch, Gerard ter Borch and Gabriel Metsu, will be divided into three classes—upper, middle and lower—and further sub-divided into eight categories. A final section will explore the places where the classes in Dutch society met one another. Additionally, 45 works of decorative arts—objects used by each class but diverging in material and decoration (for example, salt cellars, candlesticks, mustard pots, linens)—will be installed in three table settings to highlight material differences among the classes.

On exhibition will be two splendid Vermeer paintings, A Lady Writing and The Astronomer.

The accompanying publication features essays by a team of distinguished Dutch scholars and exhibition curator Ronni Baer, the MFA’s William and Ann Elfers Senior Curator of Paintings.

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9. New Vermeer monograph

franits

VERMEER (ARTS AND IDEAS)
by Wayne Franits
March 23, 2015
http://it.phaidon.com/store/art/vermeer-9780714868790/

In this new monograph, the latest in Phaidon’s Art and Ideas series, Wayne Franits examines the work of Vermeer within the framework of his times, one of the most intellectually creative periods in this history of art. Written in a lively and accessible style, and incorporating the latest scholarship on the artist, Franits provides fresh insights into many of Vermeer’s most famous works, uncovering the creative process behind them and their wealth of meanings. All paintings by Vermeer are illustrated.

about the author:
Wayne Franits, a specialist in seventeenth-century Dutch and Flemish art, is Professor of Art History at Syracuse University, New York. His numerous publications have explored a variety of topics within the field, ranging from genre painting and portraiture to the work of the Dutch followers of Caravaggio.

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10. Vermeer-related article

“Most rare workmen”: Optical practitioners in early seventeenth-century Delft”
Huib J. Zuidervaart and Marlise Rijks
The British Journal for the History of Science, pp. 1 – 33, (March 2014)

online article can be accessed at:
http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=9202672&fileId
=S0007087414000181

abstract:
A special interest in optics among various seventeenth-century painters living in the Dutch city of Delft has intrigued historians, including art historians, for a long time. Equally, the impressive career of the Delft microscopist Antoni van Leeuwenhoek has been studied by many historians of science. However, it has never been investigated who, at that time, had access to the mathematical and optical knowledge necessary for the impressive achievements of these Delft practitioners. We have tried to gain insight into Delft as a ‘node’ of optical knowledge by following the careers of three minor local figures in early seventeenth-century Delft. We argue that through their work, products, discussions in the vernacular and exchange of skills, rather than via learned publications, these practitioners constituted a foundation on which the later scientific and artistic achievements of other Delft citizens were built. Our Delft case demonstrates that these practitioners were not simple and isolated craftsmen; rather they were crucial components in a network of scholars, savants, painters and rich virtuosi. Decades before Vermeer made his masterworks, or Van Leeuwenhoek started his famous microscopic investigations, the intellectual atmosphere and artisanal knowledge in this city centered on optical topics.

Especially of interest is the authors’ tie between three optical practitioners who lived in Delft simultaneously with Vermeer. One of them, Jacob Spoors, was in 1674 the notary of Vermeer and his mother-in-law Maria Thins. Another was an acquaintance of Spoors, the military engineer Johan van der Wyck, who made an optical device in Delft in 1654, most likely a camera obscura. A report about the demonstration in nearby The Hague has been preserved. Van der Wyck also made telescopes and microscopes and an apparatus that probably was a kind of perspective box. As a telescope maker he was preceded by Evert Harmansz Steenwyck, brother-in- law of the Leiden painter David Bailly and father of two Delft still-life painters: Harman and Pieter Steenwyck. The latter was familiar with Vermeer’s father Reynier Jansz Vermeer, at a time when the young Vermeer was still living with his parents. According to the authors, this is the first real archival evidence that such a device existed in Delft during Vermeer’s life.

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11. Vermeer-related publication

beholder

The Eye of the Beholder: Johannes Vermeer, Antoni van Leuwenhoek, and the Reinvention of Seeing
Mar 16, 2015
by Laura J. Snyder
http://books.wwnorton.com/books/detail.aspx?id=4294985240

from the publisher’s website:
In Eye of the Beholder, Laura J. Snyder transports us to the streets, inns, and guildhalls of seventeenth-century Holland, where artists and scientists gathered, and to their studios and laboratories, where they mixed paints and prepared canvases, ground and polished lenses, examined and dissected insects and other animals, and invented the modern notion of seeing. With charm and narrative flair Snyder brings Vermeer and Van Leeuwenhoek—and the men and women around them—vividly to life. The story of these two geniuses and the transformation they engendered shows us why we see the world—and our place within it—as we do today.

reviews:
“Laura Snyder is both a masterly scholar and a powerful storyteller. In Eye of the Beholder, she transports us to the wonder-age of seventeenth-century Holland, as new discoveries in optics were shaping the two great geniuses of Delft—Vermeer and van Leeuwenhoek—and changing the course of art and science forever. A fabulous book.”
— Oliver Sacks

Eye of the Beholder is a thoughtful elaboration of the modern notion of seeing. Laura J. Snyder delves into the seventeenth century fascination with the tools of art and science, and shows how they came together to help us make sense of what is right in front of our eyes.”
— Russell Shorto, author of Amsterdam: A History of the World’s Most Liberal City

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12. Vermeer-related film

onscreen

Girl with a Pearl earring and other Treasures from the Mauritshuis
produced by Exhibition on Screen
in cinemas from 13 January
http://www.exhibitiononscreen.com/girl-with-a-pearl-earring

from Exhibition on Screen’ website:
Girl with a Pearl Earring by Johannes Vermeer is one of the most enduring paintings in the history of art. Even today, its recent world tour garnered huge queues lining up for the briefest glimpse of its majestic beauty – In Japan 1.2 million people saw the exhibition. Yet the painting itself is surrounded in mystery. This beautifully filmed new documentary seeks to investigate the many unanswered questions associated with this extraordinary piece. Who was this girl? Why and how was it painted? Why is it so revered?

After its world tour, the Girl with a Pearl Earring returned to the much-loved Mauritshuis in The Hague, Netherlands, which has just completed extensive renovations. Enjoying unparalleled exclusive access to this historical exhibition, the film takes the audience on a journey as it seeks to answer many of the questions surrounding this enigmatic painting and its mysterious creator, Vermeer. Using the recently completed and highly complex makeover of the museum as its starting point, the film goes on a behind the scenes detective journey to seek out the answers that lie within the other masterpieces housed in the collection.

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13. Vermeer-inspired poetry

white2

Vermeer in Hell
by Michael White
2013
http://www.perseabooks.com/detail.php?bookID=114

from publisher’s website:
Through the paintings of Vermeer, Michael White explores new landscapes and transforms familiar ones in this extraordinary new collection of poems. This captivating masterwork transports us across eras and continents, from Confederate lynchings to the bombing of Dresden, through its lyrical inhabitations of some of Vermeer’s most revered paintings, each one magically described and renewed. More than mere ekphrasis, Michael White explores the transformative possibilities of great art in his fourth collection.

reviews:
“Vermeer in Hell is Michael White’s museum of ghosts and shades, of narratives woven masterfully out of the personal and historical alike—out of the lived, the envisioned, the loved, and the terrible. Rarely have I felt the ekphrastic to be as dramatic as in White’s tour through the portraits of Vermeer, with its history of fiery damages, wars and afflictions, but also its own depiction of ‘love’s face as it is.’ Out of Michael White’s vision, each poem achieves for us the delicacy and durability of Vermeer’s own art.”
—David Baker

“Nearly every one of Michael White’s new poems is the equivalent of a quiet stroll through a blazing fire, igniting the reader’s imagination. His insights are frightening and comforting at the same time, his craft allowing for the most surprising and thrilling of associations. Vermeer in Hell is a collection that belongs in the room with all of the traditions of our language’s poetry, but it brings something completely original to us, too. It is not an overstatement to call this poetry Genius.”
—Laura Kasischke

“In these elegant, powerful poems, Michael White pays homage to a great painter while engaging social realities that affect us all. They are brave, beautiful poems linked by authentic vision and a sensitive, educated ear.”
—Sam Hamill

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14. Vermeer-inspired memoir

white1

Travels in Vermeer: A Memoir
by Michael White
2015
http://www.perseabooks.com/detail.php?bookID=113

from the publisher’s webpage:
In the midst of a bad divorce, the poet Michael White unexpectedly discovers the consoling power of Johannes Vermeer’s radiant vision. Over the course of a year, he travels to Amsterdam, The Hague, Delft, Washington D.C., New York, and London to view twenty-four paintings, including nearly all of Vermeer’s major work.

“A certain chain of events has left me open, on a startlingly deep level, to Vermeer’s gaze, to his meditation on our place on earth,” White writes.

Part travelogue, part soul-searching investigation into romantic love and intimate discourse on art, this erudite and lyrical memoir encompasses the author’s past–his difficult youth, stint in the Navy, alcoholism, and the early death of his first wife–and ends with his finding grace and transformation through deeply affecting encounters with the paintings of Vermeer, an artist obsessed with romance and the inner life, who has captivated millions, from the seventeenth century until now.

reviews:
“All the sorrow of love is compressed into White’s memoir. But so, too, is all the consolation of art. Nothing I’ve read…suggests so eloquently what [Vermeer’s paintings] hold for a contemporary viewer…Figures it took a poet to get it this beautifully, thrillingly right.”
— Peter Trachtenberg

“[Travels in Vermeer] touches on the mysteries of seduction, loss, and the artistic impulse. It shows how time can be interrupted.”
—Clyde Edgerton

“This book is a treasure and a guide. It is a type of healing for the intellect and the heart.”
—Rebecca Lee

about the author:
Michael White is the author of four collections of poetry and a memoir, Travels in Vermeer (Persea 2015), and has published widely in respected periodicals, including The Paris Review, The New Republic, The Kenyon Review, Ploughshares, Western Humanities Review, and the Best American Poetry. White teaches poetry and is presently chair of the Creative Writing department at the University of North Carolina, Wilmington.

publisher’s webpage:
http://www.perseabooks.com/detail.php?bookID=114

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15. For what it matters….

After trotting thousands upon thousands of miles around the globe during the restoration of the Mauritshuis, Vermeer’s Girl with a Pearl Earring thought her performance would come to an end when she got home.

How wrong she was.

winner-02

If I have translated the Dutch news dispatch correctly, the Mauritshuis staged a competition inspired by the Japanese Vermeer enthusiast Shin Ichi Fukuoka which called on other Vermeer enthusiasts to submit a photograph of their own living rooms that includes a reproduction of the iconic Girl with a Pearl Earring on one of its walls. The winner, so to speak, would have his or her living room reassembled on the premises of the Mauritshuis with the iconic picture incorporated, in the manner of photo stand-ins (once called carnival cutout) that are present in virtually every zoo, children’s museum and theme park in America. The lucky winner was recently announced on Mauritshuis Facebook page, and she is Elsa Oudshoorn.

Although I can’t quite grasp the sense of the Mauritshuis’ initiative, it would appear to be distantly related to the “win-an-evening-with-your-favorite-movie-star-or-starlet” competition of glamorous days gone bye. I have no idea what it would be like to sit in the reconstruction of my living room with a real Vermeer peeping through a hole, but I can imagine how deeply embarrassing it would be to have won the other type competition and have found oneself sitting across a dining table with a Hollywood starlet who would rather be anywhere in the world except with one hers fans.

photostandin-01

Those who read this blog regularly will have sooner or later understood that my own enthusiasm for the work of Vermeer stops more or less at building the Essential Vermeer, reporting “Vermeer news” and looking at Vermeer’s real pictures when life permits. And they will also have intuited that I do not subscribe to the “anything-that-draws-people-to-art-is-good” philosophy (see here, here and here). On the contrary.

So, my only hope is that I got the Mauritshuis story all wrong or that Vermeer was a very fun-loving man who wouldn’t have minded having his head (or the head of one of his pictures) stuck in a hole of a photo stand-in of a funny dinosaur or a old western jail.

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16. New Vermeer-Related Publication

Holland’s Golden Age in America: Collecting the Art of Rembrandt, Vermeer, and Hals
by Esmée Quodbach
ed. New York (The Frick Collection) and University Park (The Pennsylvania State University Press) 2014

from the Pennsylvania State University Press website:
Americans have long had a taste for the art and culture of Holland’s Golden Age. As a result, the United States can boast extraordinary holdings of Dutch paintings. Celebrated masters such as Rembrandt van Rijn, Johannes Vermeer, and Frans Hals are exceptionally well represented, but many fine paintings by their contemporaries can be found as well. In this groundbreaking volume, fourteen noted American and Dutch scholars examine the allure of seventeenth-century Dutch painting to Americans over the past centuries. The authors of Holland’s Golden Age in America explain in lively detail why and how American collectors as well as museums turned to the Dutch masters to enrich their collections. They examine the role played by Dutch settlers in colonial America and their descendants, the evolution of American appreciation of the Dutch school, the circumstances that led to the Dutch school swiftly becoming one of the most coveted national schools of painting, and, finally, the market for Dutch pictures today. Richly illustrated, this volume is an invaluable contribution to the scholarship on the collecting history of Dutch art in America, and it is certain to inspire further research.

In addition to the editor, the contributors are Ronni Baer, Quentin Buvelot, Lloyd DeWitt, Peter Hecht, Lance Humphries, Walter Liedtke, Louisa Wood Ruby, Catherine B. Scallen, Annette Stott, Peter C. Sutton, Dennis P. Weller, Arthur K. Wheelock, Jr., and Anne T. Woollett.

This book provides answers for anyone who has ever wondered why there are so many great Dutch paintings in U.S. collections. Essays by leading curators and scholars draw on the history of art, as well as an understanding of cultural, economic, and political conditions, to illuminate the American taste for seventeenth-century Dutch painting.
Emilie Gordenker, Director, Mauritshuis, The Hague

Drawing on the experience and insights of many of her colleagues in museums and the academy, Esmée Quodbach brings us an impressively broad overview of the early collectors of Dutch art in America. This essential volume provides illuminating context for major figures such as J. P. Morgan and welcomes unsung heroes such as Robert Gilmor, Jr., onto this stage, but also lifts the curtain on early colonial as well as contemporary collections. These varied accounts are spiked with color, drama, and highlights, including the story of the wealthy collector who has to ask, “Who is Vermeer?”
David de Witt, Bader Curator of European Art, Queen’s University

Esmée Quodbach is Assistant Director of the Center for the History of Collecting at The Frick Collection and Frick Art Reference Library in New York.

http://www.psupress.org/books/titles/978-0-271-06201-3.html

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17. New Vermeer-Related Publication

Holland’s Golden Age in America: Collecting the Art of Rembrandt, Vermeer, and Hals
by Esmée Quodbach
ed. New York (The Frick Collection) and University Park (The Pennsylvania State University Press) 2014

from the Pennsylvania State University Press website:
Americans have long had a taste for the art and culture of Holland’s Golden Age. As a result, the United States can boast extraordinary holdings of Dutch paintings. Celebrated masters such as Rembrandt van Rijn, Johannes Vermeer, and Frans Hals are exceptionally well represented, but many fine paintings by their contemporaries can be found as well. In this groundbreaking volume, fourteen noted American and Dutch scholars examine the allure of seventeenth-century Dutch painting to Americans over the past centuries. The authors of Holland’s Golden Age in America explain in lively detail why and how American collectors as well as museums turned to the Dutch masters to enrich their collections. They examine the role played by Dutch settlers in colonial America and their descendants, the evolution of American appreciation of the Dutch school, the circumstances that led to the Dutch school swiftly becoming one of the most coveted national schools of painting, and, finally, the market for Dutch pictures today. Richly illustrated, this volume is an invaluable contribution to the scholarship on the collecting history of Dutch art in America, and it is certain to inspire further research.

In addition to the editor, the contributors are Ronni Baer, Quentin Buvelot, Lloyd DeWitt, Peter Hecht, Lance Humphries, Walter Liedtke, Louisa Wood Ruby, Catherine B. Scallen, Annette Stott, Peter C. Sutton, Dennis P. Weller, Arthur K. Wheelock, Jr., and Anne T. Woollett.

This book provides answers for anyone who has ever wondered why there are so many great Dutch paintings in U.S. collections. Essays by leading curators and scholars draw on the history of art, as well as an understanding of cultural, economic, and political conditions, to illuminate the American taste for seventeenth-century Dutch painting.
Emilie Gordenker, Director, Mauritshuis, The Hague

Drawing on the experience and insights of many of her colleagues in museums and the academy, Esmée Quodbach brings us an impressively broad overview of the early collectors of Dutch art in America. This essential volume provides illuminating context for major figures such as J. P. Morgan and welcomes unsung heroes such as Robert Gilmor, Jr., onto this stage, but also lifts the curtain on early colonial as well as contemporary collections. These varied accounts are spiked with color, drama, and highlights, including the story of the wealthy collector who has to ask, “Who is Vermeer?”
David de Witt, Bader Curator of European Art, Queen’s University

Esmée Quodbach is Assistant Director of the Center for the History of Collecting at The Frick Collection and Frick Art Reference Library in New York.

http://www.psupress.org/books/titles/978-0-271-06201-3.html

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18. Saint Praxedis sold for $10,687,160

praxedis-03

The London-based auction house Christie’s reported via a Twitter feed that the Saint Praxedis (101.6 x 82.6 cm.) was sold on Tuesday, July 8 for $10,687,160 (£6,242,500). The going price was barely higher that than the auction house’s lowest estimate of $10,284,000 but considerably lower than the upper estimate of $13,712,000. The name of the purchaser is not known.

In 2004, Sotheby’s sold the miniscule Woman Seated at the Virginals for $42 million (£16.2 million) a price five times greater than the auction house’s initial estimate. Previous to the two sales, the authorship of both works had been for debated for decades. On occasion of the sales the picture were proposed as authentic Vermeer’s largely the basis of scientific analysis spearheaded, in both cases, by the respective auction houses.

At the moment, the relatively low price paid for the Saint Praxedis may suggest that the results of the scientific analysis were not less than convincing and that it was bought in hopes that future critical or scientific examinations will strengthened its attribution.

Before the painting was sold, Christie’s reported that after having examined the picture the conservator Libby Sheldon said that although no firm conclusion about the exact date of the picture’s Vermeer signature could be reached, she believed that it is nonethless “old.” In 1998 , Jørgen Wadum, then the chief curator of the Mauritshuis, stated that the signature had been added after the painting had been completed. Tests carried out by the Rijksmuseum show that the lead component of the lead white pigment extracted from the picture derives from a northern European source making it improbable that the picture was painted in southern Europe, as some critics had speculated. In addition, Christie’s claims that the lead white used to paint the Saint Praxedis is from the same “batch” used to painted the Diana and her Companions, a secure work by Vermeer.

However, since the results of these tests have not been published, for the moment it is not clear what meant by the term “batch.” Many pigments used by artists, including white lead, were already being produced on a large scale with the products being delivered to the retail dealers. There exists no evidence that that might indicate if Vermeer prepared his own paints or bought them through one or other commercial venues.

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19. Mauritshuis reopens on June 27, 2014

View of Delft, Johannes Vermeer

Mauritshuis Opening on 27 June 2014

The Mauritshuis will open its doors on Friday 27 June 2014 after a two-year renovation.

The world famous painting collection, including three paintings by Vermeer, Girl with a Pearl Earring, The View of Delft and Diana and her Companions, will once again be displayed in the fully renovated and expanded Mauritshuis. After a celebratory opening, the museum will be open to the public for visit free of charge until midnight. The renovated Mauritshuis doubles its surface with an underground expansion into a building on the other side of the street. Still, little about the character of the museum will change. The appearance and unique homely atmosphere are preserved, thanks to the design of Hans van Heeswijk architects. The most obvious change is the relocation of the main entrance to the forecourt. Visitors will descend via the stairs or lift to a light foyer, connecting ‘old’ and ‘new’ underground. The new part, the Royal Dutch Shell Wing, will house the exhibition space, the brasserie and the museum shop. Furthermore, it will accommodate the educational Art Workshop, a library, and event rooms.

The museum has also rennovated its website and has added new high-resolution image is their Vermeer’s paintings which can be veiwed with a zoom feature or downloaded to one’s hard disk. The downloadable images are lower resolution than the zoom versions.

zoom features:
Girl with a Pearl Earring
View of Delft
Diana and her Compantions

downloads
:
Girl with a Pearl Earring
View of Delft
Diana and her Compantions

Mauritshuis
Korte Vijverberg 8
2513 AB The Hague
P.O. Box 536
2501 CM The Hague

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20. Tim’s Vermeer…from a painter’s point of view

After I posted various reports about the documentary film Tim’s Vermeer, a few readers encouraged me to give a scholarly assessment of Jenison’s claim that Vermeer had used an optical device called a comparator mirror as an aid to his painting. Given my limited knowledge of the use of optics in seventeenth-century painting, I found it more appropriate to examine the issue from a technical viewpoint, since I am by profession a painter. The fact that I have studied Vermeer’s painting technique and attempted to emulate his manner for over 40 years, I hope, might give me a discreet edge over non-painters in evaluating if Jenison’s device is or is not compatible with what we know of Vermeer’s pictorial strategy and technical procedures.

Following some lively discussions with Mr. Jenison on the finer points of Vermeer’s painting procedures, I was able to meet him in Texas and experiment with the comparator mirror on the premises of a full-scale mockup of scene of Vermeer’s Music Lesson which Jenison had built in order to test his hypothesis by paintings his own Vermeer.

My first attempt to use the comparator mirror was frustrating. Not only was I unable to produce acceptable pencil outlines of a black and white photograph with which Jenison had used in his first experiments, I was utterly incapable of matching on paper any of the photograph’s tonal values. To use the comparator, at least as I was attempting to use it at the moment, one is constrained to work within an extremely small area of the drawing, along a thin edge where the image of the comparator mirror abuts on the drawing below and the two can be compared. Initially I found this procedure mentally and visually stressing, and at odds with my experience in conceiving and making paintings.

With a little more practice I was able to produce a few acceptable contours, even though they lacked any sort of artistic quality. However, seeing that I am not particularly skilled with a pencil, I though it best to test the device with paint and brush with which I have greater familiarity, even though on first consideration the oil painting technique seemed even more at odds with the mirror’s limitations than with dry drawing.

Surprisingly, I made rapid progress with the oil medium. Although with a certain fatigue, I learned to define first simple and then complex contours with a fine-tipped brush and began, even more surprisingly, I marveled at how it was possible to match with utmost precision both the chromatic and tonal values of my painting with those of the mirror in a completely objective manner.

Having made substantial progress in coordinating mind, eye, brush and mirror after a few painting sessions, I started afresh and began to depict a small portion of Jenison’s Vermeer mockup Vermeer room following what I have come to understand of Vermeer’s multi-step painting technique. Beginning with a schematic line drawing which served to fixed the most salient contours of the scene, I first underpainted the lights and darks with monochrome brown (raw umber plus black) and white paints without, however, systematically consulting the comparator mirror. I was, in fact, interested in testing how close I could get to the correct values on my own.

Once the underpainting was thoroughly dry, I began to apply the final colors over it using thick opaque paint in the lights and thinner paint in the shadows, according to seventeenth-century prescription. In order to render a given passage I first mixed, as all painters do, the proper paints on the palette attempting to match them as closely as possible to the color and tonal value combining what I perceived in nature with I had learned through practice. I then applied the mixture to the canvas and compared the values of my paint to those of the corresponding passage in the mirror. I sometimes discovered that both the color and tone of my mixture were very close to those seen in the mirror, but just as often I was struck by how poorly I had interpreted nature notwithstanding my decades of experience. In a back and forth manner I was able to register the erred values of my work with those of the mirror and return to painting. Once the proper values were firmly in place, I freehanded most of the modelling as I would have done without using an optical aid, taking care to verify the accuracy of my progress via the comparator mirror at regular intervals. The comparator mirror was also of help in verifying difficult contours and defining the smallest details that I had been unable to capture by freehand.

In any case, once I had registered the values of my painting with those of the mirror, the passage appeared much more true to life (painters simply say “right”).

Although the set of mirrors and lens (Jenison’s used a double convex lens of the camera obscura in coordination with a concave mirror and a comparator mirror) requires periodic adjustments in order to view the different areas of the scene, this does not unduly interrupt the painting process once one has acquired the necessary skill maneuver them.

Conclusion

Given Jenison’s complete lack of painting experience, he painted his Vermeer employing the comparator mirror, as would be expected, in the most literal of manners. He painstakingly matched what he saw in the mirror with paint applied directly, alla prima, forgoing any sort of layering techniques that we know Vermeer and his more accomplished colleagues sometimes employed. This aspect of Jenison’s approach provoked considerable criticism, including my own. It was reasoned that Vermeer could not have used the comparator mirror because Jenison’s essentially paint-by-numbers technique, and the consequential one-layer paint structure gotten by such an approach, is completely at odds with the multi-layered structure of Vermeer’s paintings.

According to my experience the comparator mirror neither dictates nor limits the painter to any fixed procedure or techniques, including those used by Vermeer. Certainly, it would interfere no more with the creative painting process than a systematic use of the camera obscura.

If it is used in a “painterly” manner, as any experienced painter would be naturally inclined to do, the comparator mirror opens the possibility to study color more precisely than can be done with the camera obscura alone and allows the artist to match with remarkable efficacy the illusive tonal values of nature, which in effect are crucial to Vermeer’s unique brand of realism. Furthermore, I discovered that the erred tonal values of my monochrome underpainting did not compromise the rendering of the proper tones and colors of the final paint layers. The aim of seventeenth-century underpainting, as I understand it, was not to establish the precise tonal values of the final work from the very beginning, but rather to approximate the distribution of darks and lights thereby creating a sort of compositional blueprint which provided a solid base on to which the successive layers of colored paint could be applied in a more efficient manner. Although I used the glazing technique in only one passage (red madder over an underpainting of vermillion), it was evident that with some practice it would be relatively easy for any practiced painter to anticipate the tonal and chromatic values of the colored underpainting so they might eventually match those made visible in the mirror once the passage had been glazed with the final color.

The use of such a simple device as the comparator mirror in tandem with the camera obscura lens, in my opinion, is technically compatible with Vermeer’s known painting techniques (to be distinguished from his “pointillist” mannerism), and it is in line with what Lawrence Gowing appropriately called the artist’s “optical way” as well as the artist’s search for absolute tonal authenticity.

0 Comments on Tim’s Vermeer…from a painter’s point of view as of 6/21/2014 12:37:00 PM
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21. Unwrapping a Vermeer

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22. Saint Praxedis sold for $10,687,160

praxedis-03

The London-based auction house Christie’s reported via a Twitter feed that the Saint Praxedis (101.6 x 82.6 cm.) was sold on Tuesday, July 8 for $10,687,160 (£6,242,500). This figure barely higher that than the auction house’s lowest estimate of $10,284,000 but considerably lower than the upper estimate of $13,712,000. The painting was sold after a few bids to an Asiatic client. The painting was sold after a few bids to an Asiatic client.

At the moment, the low price paid for the Saint Praxedis suggests that the results of the scientific analysis were less than convincing and that it was bought in hopes that future critical or scientific investigations will strengthened its attribution.

In 2004, Sotheby’s sold the miniscule Woman Seated at the Virginals for $42 million (£16.2 million) a price five times greater than the auction house’s initial estimate. Previous to the two sales, the authorship of both works had been for debated for decades. On occasion of the sales the picture were proposed as authentic Vermeer’s largely the basis of scientific analysis spearheaded, in both cases, by the respective auction houses.

Before the painting was sold, Christie’s reported that after having examined the picture the conservator Libby Sheldon said that although no firm conclusion about the exact date of the picture’s Vermeer signature could be reached, she believed that it is nonethless “old.” In 1998 , Jørgen Wadum, then the chief curator of the Mauritshuis, stated that the signature had been added after the painting had been completed. Tests carried out by the Rijksmuseum show that the lead component of the lead white pigment extracted from the picture derives from a northern European source making it improbable that the picture was painted in southern Europe, as some critics had speculated. In addition, Christie’s claims that the lead white used to paint the Saint Praxedis is from the same “batch” used to painted the Diana and her Companions, a secure work by Vermeer.

However, since the results of these tests have not been published, for the moment it is not clear what meant by the term “batch.” Many pigments used by artists, including white lead, were already being produced on a large scale with the products being delivered to the retail dealers. There exists no evidence that that might indicate if Vermeer prepared his own paints or bought them through one or other commercial venues.

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23. Unwrapping a Vermeer

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24. Tim’s Vermeer…from a painter’s point of view

After I posted various reports about the documentary film Tim’s Vermeer, a few readers encouraged me to give a scholarly assessment of Jenison’s claim that Vermeer had used an optical device called a comparator mirror as an aid to his painting. Given my limited knowledge of the use of optics in seventeenth-century painting, I found it more appropriate to examine the issue from a technical viewpoint, since I am by profession a painter. The fact that I have studied Vermeer’s painting technique and attempted to emulate his manner for over 40 years, I hope, might give me a discreet edge over non-painters in evaluating if Jenison’s device is or is not compatible with what we know of Vermeer’s pictorial strategy and technical procedures.

Following some lively discussions with Mr. Jenison on the finer points of Vermeer’s painting procedures, I was able to meet him in Texas and experiment with the comparator mirror on the premises of a full-scale mockup of scene of Vermeer’s Music Lesson which Jenison had built in order to test his hypothesis by paintings his own Vermeer.

My first attempt to use the comparator mirror was frustrating. Not only was I unable to produce acceptable pencil outlines of a black and white photograph with which Jenison had used in his first experiments, I was utterly incapable of matching on paper any of the photograph’s tonal values. To use the comparator, at least as I was attempting to use it at the moment, one is constrained to work within an extremely small area of the drawing, along a thin edge where the image of the comparator mirror abuts on the drawing below and the two can be compared. Initially I found this procedure mentally and visually stressing, and at odds with my experience in conceiving and making paintings.

With a little more practice I was able to produce a few acceptable contours, even though they lacked any sort of artistic quality. However, seeing that I am not particularly skilled with a pencil, I though it best to test the device with paint and brush with which I have greater familiarity, even though on first consideration the oil painting technique seemed even more at odds with the mirror’s limitations than with dry drawing.

Surprisingly, I made rapid progress with the oil medium. Although with a certain fatigue, I learned to define first simple and then complex contours with a fine-tipped brush and began, even more surprisingly, to marvel at how it was possible to match with utmost precision both the chromatic and tonal values of my painting with those of the mirror in a completely objective manner.

Having made substantial progress in coordinating mind, eye, brush and mirror after a few painting sessions, I started afresh and began to depict a small portion of Jenison’s Vermeer mockup Vermeer room following what I have come to understand of Vermeer’s multi-step painting technique. Beginning with a schematic line drawing which served to fixed the most salient contours of the scene, I first underpainted the lights and darks with monochrome brown (raw umber plus black) and white paints without, however, systematically consulting the comparator mirror. I was, in fact, interested in testing how close I could get to the correct values on my own.

Once the underpainting was thoroughly dry, I began to apply the final colors over it using thick opaque paint in the lights and thinner paint in the shadows, according to seventeenth-century prescription. In order to render a given passage I first mixed, as all painters do, the proper paints on the palette attempting to match them as closely as possible to the color and tonal value combining what I perceived in nature with I had learned through practice. I then applied the mixture to the canvas and compared the values of my paint to those of the corresponding passage in the mirror. I sometimes discovered that both the color and tone of my mixture were very close to those seen in the mirror, but just as often I was struck by how poorly I had interpreted nature notwithstanding my decades of experience. In a back and forth manner I was able to register the erred values of my work with those of the mirror and return to painting. Once the proper values were firmly in place, I freehanded most of the modelling as I would have done without using an optical aid, taking care to verify the accuracy of my progress via the comparator mirror at regular intervals. The comparator mirror was also of help in verifying difficult contours and defining the smallest details that I had been unable to capture by freehand.

In any case, once I had registered the values of my painting with those of the mirror, the passage appeared much more true to life (painters simply say “right”).

Although the set of mirrors and lens (Jenison’s used a double convex lens of the camera obscura in coordination with a concave mirror and a comparator mirror) requires periodic adjustments in order to view the different areas of the scene, this does not unduly interrupt the painting process once one has acquired the necessary skill maneuver them.

Conclusion

Given Jenison’s complete lack of painting experience, he painted his Vermeer employing the comparator mirror, as would be expected, in the most literal of manners. He painstakingly matched what he saw in the mirror with paint applied directly, alla prima, forgoing any sort of layering techniques that we know Vermeer and his more accomplished colleagues sometimes employed. This aspect of Jenison’s approach provoked considerable criticism, including my own. It was reasoned that Vermeer could not have used the comparator mirror because Jenison’s essentially paint-by-numbers technique, and the consequential one-layer paint structure gotten by such an approach, is completely at odds with the multi-layered structure of Vermeer’s paintings.

According to my experience the comparator mirror neither dictates nor limits the painter to any fixed procedure or techniques, including those used by Vermeer. Certainly, it would interfere no more with the creative painting process than a systematic use of the camera obscura.

If it is used in a “painterly” manner, as any experienced painter would be naturally inclined to do, the comparator mirror opens the possibility to study color more precisely than can be done with the camera obscura alone and allows the artist to match with remarkable efficacy the illusive tonal values of nature, which in effect are crucial to Vermeer’s unique brand of realism. Furthermore, I discovered that the erred tonal values of my monochrome underpainting did not compromise the rendering of the proper tones and colors of the final paint layers. The aim of seventeenth-century underpainting, as I understand it, was not to establish the precise tonal values of the final work from the very beginning, but rather to approximate the distribution of darks and lights thereby creating a sort of compositional blueprint which provided a solid base on to which the successive layers of colored paint could be applied in a more efficient manner. Although I used the glazing technique in only one passage (red madder over an underpainting of vermillion), it was evident that with some practice it would be relatively easy for any practiced painter to anticipate the tonal and chromatic values of the colored underpainting so they might eventually match those made visible in the mirror once the passage had been glazed with the final color.

The use of such a simple device as the comparator mirror in tandem with the camera obscura lens, in my opinion, is technically compatible with Vermeer’s known painting techniques (to be distinguished from his “pointillist” mannerism), and it is in line with what Lawrence Gowing appropriately called the artist’s “optical way” as well as the artist’s search for absolute tonal authenticity.

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25. Mauritshuis reopens on June 27, 2014

View of Delft, Johannes Vermeer

Mauritshuis Opening on 27 June 2014

The Mauritshuis will open its doors on Friday 27 June 2014 after a two-year renovation.

The world famous painting collection, including three paintings by Vermeer, Girl with a Pearl Earring, The View of Delft and Diana and her Companions, will once again be displayed in the fully renovated and expanded Mauritshuis. After a celebratory opening, the museum will be open to the public for visit free of charge until midnight. The renovated Mauritshuis doubles its surface with an underground expansion into a building on the other side of the street. Still, little about the character of the museum will change. The appearance and unique homely atmosphere are preserved, thanks to the design of Hans van Heeswijk architects. The most obvious change is the relocation of the main entrance to the forecourt. Visitors will descend via the stairs or lift to a light foyer, connecting ‘old’ and ‘new’ underground. The new part, the Royal Dutch Shell Wing, will house the exhibition space, the brasserie and the museum shop. Furthermore, it will accommodate the educational Art Workshop, a library, and event rooms.

The museum has also rennovated its website and has added new high-resolution image is their Vermeer’s paintings which can be veiwed with a zoom feature or downloaded to one’s hard disk. The downloadable images are lower resolution than the zoom versions.

zoom features:
Girl with a Pearl Earring
View of Delft
Diana and her Compantions

downloads
:
Girl with a Pearl Earring
View of Delft
Diana and her Compantions

Mauritshuis
Korte Vijverberg 8
2513 AB The Hague
P.O. Box 536
2501 CM The Hague

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