the art of painting - jan vermeer

The Art of Painting1665-1667 : 

The Art of Painting1665-1667 at the Kunsthistoriesches Museum. Vienna. Jerry Tse, September 2005. London. Version 1.2 All rights reserved. Available free for non-commercial and non-profit use only. An Artist & his Studio Johannes (Jan) Vermeer (1632-1675) 1654-5 1656-7 1656 1657-8 1658-60 1662-5 c1664 1665-6 1665-7 c1670 The Procuress Milkmaid View of Delft Relative sizes 1660-61

17th Century Netherlands : 

17th Century Netherlands In 1648, one and a half centuries after the discovery of the New World, the Republic of United Provinces (Netherlands) was founded. New trading posts and colonies were established, the prosperity of Europe shifted northwards. Netherlands with her strong merchant fleet, and a ‘free trade’ economy became the financial centre of the world. The Dutch were experiencing a commercial revolution, a prosperous middle class became the main driving force behind the mercantile based economy. Traditional houses along the canal in Amsterdam. Can you imagine the kind of people currently living in them? Street in Delft. C1665-1658. Oil on canvas. Jan Vermeer. Dutch. Rijksmuseum. Amsterdam. The world’s first asset bubble occurred in the Netherlands. The price of tulip bulbs continued to increase until the exotic varieties matched the cost of a town house. It finally burst in 1634. This demonstrates the burgeoning wealth of the middle class and the market economy adopted by the Netherlands during the 17th Cent.

17C The Golden Age of Dutch Painting : 

17C The Golden Age of Dutch Painting The 17th Century was the golden age of Dutch painting. The prosperous middle class began to buy secular paintings with which to decorate their houses. Such paintings were smaller in size than religious ones, which were discouraged by Calvinist Protestants. They frequently portrayed the delightful daily life of that era. It was in this artistic environment that Jan Vermeer honed his art. Celebrating the Birth. 1664. Oil on canvas. 89x109cm. Jan Steen Wallace Collection London. Village in the Winter. A Beerstaeten. Musee d’Art d’Histoire. Geneve. Still Life of fish. Oil on oak panel. Alexander Adriaenssen, Groeninge Museum Bruges. Belgium.

Jan Vermeer, a little known man : 

Jan Vermeer, a little known man On the left is a possible self-portrait of Vermeer from his painting The Procuress. Very little is known about Johannes (or Jan) Vermeer’s life beyond a few basic facts. He was born in Delft and was baptised in October, 1632. Trained as a weaver and registered in the local guild as a picture dealer, he mainly worked as an inn-keeper. Above is his signature on a number of his paintings – I V(er) Meer. He spent his entire life in Delft. His style is linked to Carel Fabritius (who may have been his teacher) and Pieter de Hoogh. Both their names were found in the register of the local guild. Collectively this group was referred to as the Delft School of Painting. Only 35 authenticated paintings of Vermeer are known, it is unlikely that he produced more than 40 paintings in his life. In December 1675, he collapsed and died suddenly aged 43. His widow was left with huge debts and eleven children. Vermeer was completely forgotten until he was re-discovered in the mid-19C. Today his paintings are listed amongst the prized possessions of the world’s greatest galleries

Vermeer - Painting Style : 

Vermeer - Painting Style Vermeer is best remembered for serene scenes depicting domestic life, frequently portraying women, on a background of soft natural light flooding in from a window. His earlier works are larger in scale with warmer (reddish) colours, for example The Procuress (1656). His later works favoured quieter subjects, generally with only one or two figures engaged in simple everyday activities or playing music. His palette turns cooler and the paintings become smaller in scale. Pearl earrings and necklaces often feature in his paintings. A Woman Holding a Balance. C1665-66. Oil on canvas. National Gallery. Washington. The painting shows a young pregnant woman weighing her gold and pearls with a simple balance. Behind her is a painting of the Judgement Day painting by Bellagambe, reminding us that our deeds will be judged by Christ one day.

Art of Painting : 

History of the painting It was one of the few paintings that remained in Vermeer’s possession at the time of his death, suggesting he kept it for his own viewing pleasure. In 1813 the painting was bought by Count Czenin and remained in their family collection until 1940. The painting was then sold t an agent acting on behalf of Hitler. It was transported to Munich and later hidden in an underground salt mine in Austria. In 1945, it was found by American army and retained by the Austrian government. The painting was later transferred to Kunsthistorisches Museum in 1946. The Art of Painting (1665-7) or The Artist’s Studio. By Jan Vermeer Kunsthistoriesches Museum. Vienna. Art of Painting

The Room & the Artist : 

The Room & the Artist The Room – appears too tidy. There are no stack of paintings or paints lying around. The chandelier and the marble floor would have been too costly for a studio. If the room had existed, it may have been used by the artist as a temporary studio. We cannot take the studio of the painting too literally. Some say that the costume was from an earlier period, linking the artist with history. Others say it was not. Most believe it was a Vermeer. It is significant that his face is not seen. Does this figure represent painters in general, thus emphasizing the role of painters in history? It is also highly unusual for artists to start painting the laurel first. Most begin with the eyes and the face, before the rest of the painting. The Artist – is too well dressed and hardly suitable for working with paints. Perhaps Vermeer was alluding to the role of artists or their status in a society? The chandelier has no candles (no light). It has a double headed eagle (some say phoenix) at the top. The double headed eagle is the symbol of the Hapsburg Empire (the Spanish Royal family). The Netherlands had just gained their independence from Spain. It seems curious to include such political symbolism in a painting about history and painters.

The Girl – Clio, the Muse of History : 

The Girl – Clio, the Muse of History The Girl – was dressed as Clio, the Muse of History. She holds a trumpet, representing Fame, and a large book, signifying History. Her downcast eyes are studying a manuscript of either drawings or music on the table. She wears a wreath of laurel leaves denoting glory. From an in depth study by Jonathan Janson1, who asserts that ‘Clio’ and ‘The Girl with a Pearl Earring’ are actually the same person. Some even speculate that ‘Clio’ was two years younger than ‘The Girl with a Pearl Earring’. Possible candidates include Vermeer’s daughter, his maid and his patron’s daughter. 1. See and visit the excellent website. http://essentialvermeer.20m.com The movie and the novel of ‘The Girl with a Pearl Earring’ is pure friction. There is no evidence that Vermeer had an affair. On the contrary, Vermeer was a conscientious catholic, who also had 15 children with his wife!! Girl with a Pearl Earring. C1665-66. Royal Cabinet of Paintings, Mauitshuis. The Hague. Netherlands.

The map, the curtain & the table : 

The map, the curtain & the table The Map (north to the right) – was an old 16C map when the Protestant north, the Netherlands, was united with the Catholic south of modern Belgium. Vermeer was a Catholic living in a Protestant country. Along the side of the map are views of towns and cities. To the left of Clio is a view of The Hague, which was the residency of the House of Orange (who ruled the Low Countries prior to separation). The Curtain – covers a good part of the canvas. It was lifted so that we can peer into the artist’s studio. It also suggests the artist’s studio as a stage of some description. On the Table – was a large open manuscript, some drapes, a large mask and a thick heavy standing book. The mask could represent the training that all painters must undertake or the relationship between sculpture and fine art or the illusionary nature of theatrical arts. The large book may imply painting as part of the intellectual pursuit.

Interpretation : 

Interpretation There are two main interpretations. History and Painting Artists are inspired by history, fame and glory, as represented by Clio, the Muse of History. Artists are also actors or servants serving on the stage of History, giving us a glimpse into the past. On the table, Vermeer makes references to the other arts, but he didn’t make any explicit statements about their relationships. The mask and the curtain may also be interpreted as the illusionary facet of fine art. Politics of the Time The problem with the last interpretation is that it does not explain the presence of the obsolete map and the Hapsburg chandelier. Clio is holding a trumpet, in front of the view of the Dutch court on the map, which many see as a yearning to the olden days, when the Netherlands (protestants) and Belgium (Catholics) were united. Open to Interpretation It is clear that Vermeer and his family valued this painting. The painting has more to say than just a collage of images. The exact meaning is unclear. So why not attempt your own interpretation?

Paintings as Connections to History : 

Paintings as Connections to History The greatest achievement of Vermeer is that he can bring life to people, who lived in the past and his ability to freeze and capture a moment in time, for an eternity. His portraits are of ordinary people who we could relate to. Like us, they faced mundane and moral decisions, everyday of their life. In a way the paintings are illusionary, and they connected us to history of our past. The Milk Maid (Detail) c1658-60. Oil on canvas. Rijksmuseum. Amsterdam

Slide 12: 

The Art of Painting (1665-7) or The Artist’s Studio. By Jan Vermeer Kunsthistoriesches Museum. Vienna. Music : Greenslleeves by Francis Cutting (c1563-1626) played by Julian Bream Almande (Carpenter) De Symmerman most likely from the Susanne van Soldt Manuscript (1599), played on a virginal. Further Reading http://essentialvermeer.20m.com Vermeer by Norbert Schneider published by Taschen. 2004. Vermeer by Martin Bailey published by Phaidon. 1995.

Vermeer’s women : 

The End Vermeer’s women