Gabriel Metsu (1629-1667)
4 September – 5 December, 2010
National Gallery of Ireland , Dublin
Curator: Dr. Adriaan E. Waiboer
from the museum website:
This exhibition will pay homage to the Dutch seventeenth-century artist, Gabriel Metsu (1629-1667) and his exquisite scenes of daily life, which rank among the finest of the Dutch Golden Age. It will also highlight some of Metsu’s lesser known achievements in the fields of history painting, portraiture and still life. Metsu started his career in Leiden, where he painted biblical scenes on a large format. After his move to Amsterdam in the middle of the 1650s, he changed his specialisation to intimate scenes of daily life. As Metsu’s style became more meticulous in the 1660s, he focused increasingly on representing the pastimes of the upper class. He died at the age of thirty-seven, having painted a varied oeuvre of more than 130 paintings. Few of his colleagues were as versatile as Metsu and his handling of the brush was almost unrivalled. Moreover, his paintings display a unique approach to daily activities, marked by a psychological interest in the people he portrayed. An accompanying catalogue will be published to coincide with the exhibition.
other venues:
Amsterdam, Rijksmuseum (16 December 2010 – 20 March 2011)
Washington, DC, National Gallery of Art (17 April – 24 July 2011)
John Michael Montias, the American economist, can be credited to have “completed” Vermeer’s portrait after analyzing every shred of evidence directly concerning the Delft master and any person who in one way or another came into contact with him. He worked with passion and discovered new, important documents which have lead to a serious revision of the artist’s life, art and dealings with his principle patron, Pieter van Ruijven. A Delft archivist raccounts that Montias was often the very first to enter and the last to leave the archive’s premises. The fascinating results of his study can be read in Vermeer and His Milieu: A Web of Social History (Princeton University Press, 1989).
The Montias database, compiled by late Yale University Professor John Michael Montias, contains information from 1,280 inventories of goods (paintings, prints, sculpture, furniture, etc.) owned by people living in 17th century Amsterdam. Drawn from the Gemeentearchief (now known as the Stadsarchief), the actual dates of the inventories range from 1597-1681. Nearly half of the inventories were made by the Orphan Chamber for auction purposes, while almost as many were notarial death inventories for estate purposes. The remainder were bankruptcy inventories. The database includes detailed information on the 51,071 individual works of art listed in the inventories. Searches may be performed on specific artists, types of objects (painting, prints, drawings), subject matter etc. There is also extensive information on the owners, as well as on buyers and prices paid when the goods were actually in a sale. While not a complete record of all inventories in Amsterdam during this time period, the database contains a wealth of information that can elucidate patterns of buying, selling, inventorying and collecting art in Holland during the Dutch Golden Age.
Masterpieces of European Painting from Dulwich Picture Gallery
March 9 – May 30, 2010
Frick Collection
1 East 70th Street, New York
For those particularly keen on Dutch painting, the London Dulwich Picture Gallery is lending the Frick a selection of some of the extraordinary works including two Dutch masterpieces which makes the Dulwich one of the major collections of 17th- and 18th century. This work has frequently been designated as a direct influence for Vermeer’s Lady Seated at the Virginals in both theme and composition.
Obviously, the other works included in the exhibition cannot be overlooked. They include Rembrandt van Rijn’s iconic Girl at a Window, Van Dyck’s Samson and Delilah, Canaletto’s Old Walton Bridge over the Thames, Watteau’s Les Plaisirs du Bal, Murillo’s The Flower Girl, 1665–70; and Nicolas Poussin’s The Nurture of Jupiter.
Masterpieces of European Painting from Dulwich Picture Gallery is accompanied by a fully illustrated catalogue written by Dr. Xavier F. Salomon that includes an essay on the origins of the collection at Dulwich as well as comprehensive entries on the nine works.
VERMEER, LAIRESSE AND COMPOSITION
lecture by Paul Taylor 4:00 pm – Friday, 5 March 2010
Auditorium of the National Library complex
5 Prins Willem Alexanderhof
The Hague
The Netherlands Institute for Art History (RKD) aims to spotlight art historians who have conducted pioneering research on Dutch art. The first lecture, entitled Vermeer, Lairesse and Composition, will be given by Dr Paul Taylor, deputy curator of the Photographic Collection at the Warburg Institute in London and a specialist in Dutch seventeenth- and eighteenth-century art and art theory. The text of the Hofstede de Groot Lecture will be published as the first volume in a new series of publications (Waanders Publishers).
Paul Taylor has distinguished himself with his investigation of several key Dutch painting concepts, such as houding, gloe and lakheid, on which he has published various scholarly articles: “The Concept of ‘Houding’ in Dutch Art Theory” (1992); “The Glow in Late Sixteenth and Seventeenth Century Dutch Paintings” (1998); “Flatness in Dutch Art: Theory and Practice”(2008). By thoroughly analysing these terms, searching for comparable terms in Italian and French writings, and linking them with pictorial aspects of Dutch seventeenth-century painting and drawing, he has singled out in a remarkably original fashion several pictorial qualities that are characteristic of Dutch visual art in the Golden Age.
The Hofstede de Groot Lecture is named after the art historian Cornelis Hofstede de Groot (1863-1930), whose extensive art-historical documentation forms the basis of the RKD collection.
The Hofstede de Groot Lecture will be followed by a reception.
date: Friday, 5 March 2010
time: 4:00 pm (you are welcome as of 3:30pm: tea and coffee will be served)
admission: free of charge location: Auditorium of the National Library complex, 5 Prins Willem Alexanderhof, The Hague official language: English registration (mandatory): activiteiten@rkd.nl
Although I have not yet had the chance to see it, the Kunsthistorisches Museum catalogue of the Art of Painting exhibition is currently on sale at the museum online shop. Below is the URL and a little more information.
Vermeer: Die Malkunst
exhibition catalog 2010, 259 pg., numerous illustr.,
paperback in German
+ 73 S. English Translations of the Essays
Order number: 24770
24,8 x 28cm
The museum also proposes a number of Vermeer Art of Painting spinoffs like scarfs, shoulder bags, coffee cups, jigsaw puzzles and magnets as well as the more conventional postcards and reproductions.
My Essential Vermeer website gets a pretty lot of traffic, naturally, considering it is dedicated to a single fine artist. It is sobering, but not altogether surprising, to know that any second-tier Hollywood actress, NBA player or recent video game generates infinitely more web traffic than Vermeer, Rembrandt and Leonardo da Vinci combined.
To whom it may concern, below is a breakdown of all 37 paintings by Vermeer with the number of page views during December, a slow month. I doubt you could call it a popularity contest in the strictest sense; many people come to study the paintings they need to understand rather than the ones they love.
However, most works are there where I would have expected. Girl with a Pearl Earring has simply had too much good press not to be number one. The Milkmaid, as it has done for more than 300 years, marvels anyone who has ever seen it whether one knows it is a Vermeer or not. The Girl Reading a Letter at an Open Window comes in a comfortable third perhaps more for its captivating image than for the way it is painted. Odd I would say, is the appearance of the Frick Mistress and Maid near the top. Vermeer specialists rarely cast more than a sidelong glance at it because, perhaps, from an iconographical standpoint, there is not a real lot to talk about.
Frankly, I am a bit surprised that the mesmerizing Woman in Blue Reading a Letter and iconic Little Street are stuck midway down the list. As expected, the two London virginal pictures, much fussed over by critics, lack popular appeal. The Lacemaker, once the artist’s most recognizable image, has fallen from the collective conscience down to 26. Even the newly attributed and still unfamiliar A Young Woman Seated at the Virginal , now in a New York Private collection, places a bit higher.
I dutifully accept popular verdict except for the Woman with a Lute, almost last. While I admit the canvas seriously lacks nuance (due its near disastrous state of conservation), it nonetheless overwhelms me every I have the privilege of seeing it again. I find the unspeakable delicacy of the lute player ever more touching each time I find her still tucked away, even pampered, within one of Vermeer’s boldest compositions.
Following the claims (September 2008) of the heirs of Jaromir Czernin concerning the ownership of The Art of Painting by Johannes Vermeer, the Kunsthistorische Museum of Vienna has launched a web page to inform those interested in the current state of discussion. Here is the link:
One of Dalí goals was to “rescue” modern painting. His figurative mode and obsessive extolling of the Old Masters not only incited fellow Surrealists against him in the 1930s, but also later situated him in a diametric opposition to the avant-garde’s penchant towards abstraction.
Throughout art history, artists had incessantly attempted to grasp form and to reduce it to elementary geometrical volumes. Leonardo always tended to produce eggs Ingres preferred spheres, and Cézanne cubes and cylinders. Dalí claimed that all curved surfaces of the human body have the same geometric spot in common, the one found in this cone with the rounded tip curved toward heaven or toward the earth the rhinoceros horn. After this initial discovery, Dalí surveyed his own images and realized that all of them could be deconstructed to rhinoceros horns.
Dalí also discovered what he termed “latent rhinocerisation” in the works of the Great Masters. The Lacemaker is a rhinoceros horn (or an assemblage of horns), and the rhinoceros’ actual horn is, in fact, a Lacemaker. The painting triumphs over the living rhinoceros because it is entirely comprised of these animated, spiritualized horns, whereas the rhinoceros wields only the single diminutive horn/Lacemaker on its nose.”
Dalí explained, “Up till now, The Lacemaker has always been considered a very peaceful, very calm painting, but for me, it is possessed by the most violent aesthetic power, to which only the recently discovered antiproton can be compared.”
A copy of The Lacemaker had hung on the wall of his father’s study and had obsessed Dalí for a number of years. In 1955, he asked permission to enter the Louvre with his paints and canvas to execute a copy of Vermeer’s miniscule masterpiecer.
It is said that the mystery telephone bidder who paid a record $33m (£20m) for a Rembrandt at Christie’s in London is Steve Wynn, the Las Vegas casino owner.
Vermeer enthusiasts will remember that Wynn has distinguished himself through the years as a powerful art collector and acquired the tiny Young Woman Seated at a Virginal. It has been reported that Wynn later sold it (for unknown reasons) to a New York art collector for the same price he initially paid.
The Rembrandt in question is a Portrait of a Man, Half-Length, with His Arms Akimbo, painted in 1658. One New York dealer balked at the purchase due to lack of technical clarity in the face. “It was definitely a gamble,” he said. Let’s remember that gambling is Wynn’s specialty.
Although Wynn remains somewhat reticent about discussing his art dealings his high public profile is assured by his enormously successful casinos and resorts in the Las Vegas including the Golden Nugget, The Mirage, Treasure Island, Bellagio and Encore where much of which hangs. His collection includes works by Cézanne, Gauguin, Van Gogh, Manet, Matisse, Turner and Picasso.
A hitherto unrecorded and unpublished painting by Cesar van Everdingen, A Girl Holding a Balance of Plums, was recently sold at Sotheby’s for a tidy sum. Artdaily.com has it that the work was “subject of considerable bidding battle this evening. It saw interest from six potential buyers who competed strongly and whose determined bids took the price to 1,161,250 GBP, which was 16 times the pre-sale estimate of 50,000-70,000 GBP.” Luckily, the painting can be inspected with the zoom feature on Sotheby’s website accompanied by valuable background information.
To modern sensibility, bred on the precept that only the blunt and the rough can possibly signal sincerity, Cesar Van Everdingen’s elegant paint handling and sometimes aloof subject matter does not always excite non-specialists. And yet, his superlative technique and enviable sense of pictorial synthesis was held in high esteem in Vermeer’s time, higher than Vermeer’s. But what does Van Everdingen have to do with Vermeer?
Critics have long pointed to Van Everdingen’s hand for the large-scale, idiosyncratic Cupid that appears in three works by Vermeer, its boldest appearance being in the Lady Standing at the Virginal (it also starred in the Girl Reading a Letter at an Open Window but was later painted out by artist himself). However, Vermeer’s interest in Van Everdingen may have gone beyond citing his Cupid as a convenient iconographical prop. Walter Liedtke, in his recent complete catalogue of Vermeer, points out a stylistic kinship between the extraordinarily economical treatment of the head of the mistress in the Frick and Van Everdingen’s classicist Still-Life with a Bust of Venus in the Mauritshuis.
To be sure, Van Everdingen’s A Girl Holding a Balance of Plums is a big brash picture. At first glance it is about as unVermeer-like as you can get. Yet her outrageous hat which projects a suggestive shadow just over her eyes and her seductively parted lips may not be lost on those who know Vermeer’s Girl with a Flute. Dutch painters produced countless numbers of such works who, like everyone in the Netherlands, were intoxicated by exotic whares that swelled Dutch ports (Van Everdingen’s hat is from Brazil where Vermeer’s is obviously of Oriental extraction). If one wishes to push the case beyond the literal, the challenging rendering of the hat’s geometrical design could have stirred Vermeer attention, fascinated by the curious perspective of the decorative stripes on his own oriental hat.
Since art-history detective work is neither one of my talents nor ambitions, I gladly leave further comparison to those more qualified.
Masterpieces of the Herzog Anton Ulrich-Museum from antiquity to the contemporary
12 July 2009 – 31 December 2012
Due to the complete renovation of the Herzog Anton Ulrich-Museum in the coming years, the most important works will be on view in the nearby Knight’s Hall of Burg Dankwarderod, including Vermeer’s Girl with a Glass of Wine. The exhibition architecture is designed to make an overview over the different art historical eras, from antiquity to contemporary art possible.
My good friend Adelheid kindly keeps me up-to-date on what is going on in Northern Europe. It seems that heavy-weight museums have recently developed a taste for physically reconstructing Vermeer’s paintings in order to draw museum-goers closer to his masterpieces (see the reconstruction of Vermeer’s Art of Painting entry below). As a painter, I whole-heartedly approve this kind of display since those who look at pictures rarely understand the complexeties making a meaningful, painted compositions from real life situation.
Here’s the news.
On 24th November, the so-called “experiment-room,” a life-size, 1:1 reconstruction of the scene in Vermeer’s Girl Reading a Letter at an Open Window, was presented to the public at the Labortheater of the Dresden Academy of Fine Arts. Academy students and teachers developed and realized the exact replica which will later become the central part of the extensive educational program for the upcoming The Early Vermeer exhibition in its Dresden venue.
By stepping into the reconstructed room, visitors will be able to grasp more concretely Vermeer’s painting process, the manner in which employed perspective, light and shadow, whether he used a camera obscura, and above all, the his unsurpassed sense of composition.
Not only were the objects now visible in the painting faithfully replicated, but those which Vermeer had later overpainted such as a crystal goblet and a large painting of a Cupid. Thus, with a bit of imagination one can directly experience Vermeer’s “art of omitting” which transformed a somewhat theatrical scene into a more intimate one focused on the silent act reading of a letter a love letter.
The girl’s smart yellow jacket (none have survived) was recreated according to scientific research as a diploma project by students of theatrical costume design department. On special occasions a young female student will model as the reading-girl in the scene. Otherwise life-size figure made specifically by the students will stand in for the live model.
Like it or not, Vermeer’s Girl with a Pearl Earring is in for another lengthy hike. This time, she’s back to Japan.
On 27 October, 2009, the directors of the Mauritshuis and media company Asahi Shimbun have agreed to organize a traveling exhibition of major works of art from the Mauritshuis in 2012. It is anticipated that over forty works from The Hague will be exhibited in Tokyo and subsequently in Kobe. Amongst the works included are well-known paintings, such as the Girl with a Pearl Earring by Vermeer and the late Self-Portrait by Rembrandt.
The museum will tour a selection of its rich collection during the renovation of the historic building known as the Mauritshuis. This extensive renovation requires the closure of the museum for the public. The View of Delft will remain at the Mauritshuis.
Regarding the upcoming Art of Painting special exhibition in Vienna (25 January – 25 April 2010), I have been kindly informed that the organisers have created a 1:1 3D reconstruction of Vermeer’s masterpiece following the drawings of the London architect and Vermeer/camera obscura expert, Philip Steadman. A large camera obscura was subsequently employed to obtain images. Some photos of the camera obscura images will be included in the exhibition.
Most any Vermeer enthusiast will remember Steadman’s carefully-researched and much-discussed book (Vermeer’s Camera: Uncovering the Truth Behind the Masterpieces) on Vermeer’s use of the camera obscura (a sort of 17th-century precursor of the modern photographic camera). The dust still has not completely settled dividing Vermeer notables into two camps. Since The Art of Painting is said by many to present some of the peculiar visual qualities which are characteristic of the image produced by the camera obscura, this part of the exhibition may be useful to those who those who seek visual evidence in regards to the issue.
I have always enjoyed, but more importantly, learned, something more from small-scale exhibitions with a clear focus more than blockbuster overviews which tend to overwhelm someone like myself who can at best absorb one painting at at time (perhaps a professional deformation stemming from the habit of painting only one painting at a time) . See, for example, the excellent Milkmaid exhibit currently at the MET.
The Art of Painting exhibit seems to be shaping up nicely. All I need now is some some cash that falls off a tree for a round-trip ticket and lodging.
Dresden, Old Masters Picture Gallery
Sept 3– Dec 28, 2010
Edinburgh, National Gallery of Scotland
end of 2010 – Feb. 2011
Although Vermeer’s art has been consecrated by numerous special exhibitions for decades, until now, no single exhibition has focused on the myriad questions of painter’s artistic formation and early works. Hence, The Young Vermeer, which will travel from The Hague to Edinburgh and lastly to Dresden, will be the first chance to view Vermeer’s formative early works in close proximity and shall no doubt will be a milestone in Vermeer studies. All three venues feature Vermeer’s Diana and her Companions,Christ in the House of Martha and Mary and The Procuress. These three works have been completely restored so they can be appreciated in all their youthful intensity. The Dresden venue will also comprise their Girl Reading a Letter by an Open Window.
An exhibition catalogue will provide visitors with in-depth investigation to this subject by distinguished experts of Dutch art.
The Dresden venue of the exhibition seems to be particularly rich. An ambitious educational project, based on recent investigations of the Dresden Vermeer Girl Reading a Letter by an Open Window will include a full-scale, scientifically elaborated reconstruction of the room represented in this early masterpiece. The reconstruction will to be presented to the public next week. A website, currently under construction but already rather promising, will further explore Vermeer’s masterpiece.
Moreover, the educational project includes a 20-minute film which focused on the early Vermeer paintings and the Dresden paintings (The Procuress and Girl Reading a Letter by an Open Window). Numerous lectures during are planned as well as an anthology, comprehending short literary texts by different authors dealing with the Girl Reading a Letter by an Open Window.
Due to its uniqueness, the Young Vermeer exhibition has already begun to stir international attention assuring widespread interest. As details come available, they will be reported on the Flying Fox.
Drawings by Rembrandt and His Pupils: Telling the Difference
December 8, 2009–February 28, 2010
from the Getty website:
Coming in December, the J. Paul Getty Museum in Los Angeles presents an unprecedented exploration of the drawings of Rembrandt van Rijn and his students. Rembrandt was a popular teacher with dozens of pupils, and he taught all of them to draw in his style. But which of the thousands of drawings created in his studio are by Rembrandt himself—and how do we tell the difference?
This innovative exhibition untangles the mystery, inviting visitors to help solve the puzzle by looking closely to distinguish artists’ styles for themselves. Distilling over 30 years of scholarly research, this major international loan exhibition presents a singular opportunity to explore the differences between Rembrandt’s drawings and those of more than 14 pupils and followers. In carefully selected pairings of celebrated drawings by Rembrandt and his pupils, the exhibition outlines these artistic differences and sheds light on the art of drawing in Rembrandt’s circle and the vibrant creative life within the master’s studio.
The Art of Painting has a unique place in Vermeer’s oeuvre. Although it was very likely not executed as a commission, it never left the artist’s studio. Even after Vermeer’s death, which left his family with enormous financial problems, his widow Catharina tried to prevent a sale of this precious painting. Most likely, it was made as a showcase piece to be presented to connoisseurs and potential customers. The exhibition investigates a number of facets of this most complex of Vermeer’s compositions.
Besides extensive technological studies regarding the work’s state of conservation, several central subjects are faced including the complex iconography supported by period documentation. Some of the props in the picture will be on display; a period chandelier, tapestry, wallmap as well as a precise reconstruction of a slashed doublet worn by the painter.
Other questions are investigated as well. Does the painting represent Vermeer’s real studio? What does the painting reveal about Vermeer’s working methods? Which pigments did painter utilized? How was the composition developed? Did the painter make use of optical devices?
Numerous loans from European and American museums and private collections and historical documents from Dutch archives provide a springboard for discovering Vermeer’s masterpiece.
In addition the Kunsthistorisches Museum displays paintings, sculptures and details of films by contemporary artists (George Deem, Maria Lassnig, Peter Greenaway etc.) whose creation were inspired by Vermeer’s Art of Painting.
One of them is looking at seemingly inconsequential paintings representing frivolous damsels in the corner of a room made by a Dutch man who lived briefly and died poor in a very different world some 350 years distant from our own. Traveling around the world to see them all is another.
Perhaps one of the most curious, but frequent, emails I receive as the author of Essential Vermeer website is from people who have made it one of their life-quests to see “all the Vermeers.” A few travel as couples, a few keep me informed of their progress.
Mike Buffington recently wrote me about his “mission to see all the Vermeers.” He is at 30 now. A trip in April will put both he and his brother at 35. I admire Mike’s youthful dedication and understand his need to picture himself next each one he has seen.
When I saw my first Vermeer many years ago it was very hard to leave.
The work in question, The Procuress, has been housed at the Courtauld Institute in London since 1960 when it given as a donation from Professor Geoffrey Webb, a specialist in historic architecture. Webb had no illusions concerning its authorship; he believed that it was a forgery by Van Meegeren recovered after the War in Van Meegeren’s chalet in Nice. Scientific examination at the Courtauld confirms that the picture could date from the 17th-century since the canvas is old but more significantly, there is no evidence that any modern pigment was used.
Two other versions of The Procuress already are present in public museums. The first is owned by the Rijksmuseum in Amsterdam, which, however, lists it as a copy. Another emerged in 1949 from an English private collection and was auctioned at Christie’s before being bought by Boston’s Museum of Fine Arts. Scholars now believed this one to be the original by Dirck van Baburen.
This bit of news may be relevant to Vermeer studies since it is well known that Vermeer included just such a procuress motif in the background of two of his compositions, The Concert and the Lady Seated at the Virginals. Baburen’s Procuress, or a copy of the original, probably corresponds to one in the 1641 inventory of Vermeer’s mother-in-law, Maria Thins, described as “a painting wherein a procuress points to the hand.”
