Vermeer’s Music Lesson travels to the Netherlands in 2016

May 27th, 2015

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/

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

April 16th, 2015
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, June 3 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.

Early Vermeer(?) exhibited in Tokyo

April 16th, 2015
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).

Vermeer-related lecture in Boston

April 16th, 2015
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.

Toying around with a masterpiece

April 16th, 2015
milkmaidtoy

The toy manufacturer Playmobil has partnered with the Amsterdam Rijksmuseum and “translated” Vermeer’s Milkmaid into what they call a “historical toy.” Jos Doosjen, commercial director of Playmobil Benelux, states, “the opportunity to playfully introduce children to cultural heritage as The Milkmaid was “grabbed with both hands.” “We hope that we can continue to excite their imagination and so increase their knowledge about art.”

Pieter Roelofs, curator of seventeenth-century Dutch Painting at the Rijksmuseum, on the partnership: “If we want to make the Rijksmuseum collection as accessible as possible, not only in the museum but also beyond. Hopefully we bring in this way a new generation of children playfully touch our collection and get them then all the original really admire. And so art is child’s play.”

If you are not a child but are still interested in the picture, click here.

Vermeer-related lecture

February 28th, 2015
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.

Walter Liedtke dies in tragic train crash

February 8th, 2015
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 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

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

February 7th, 2015
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.

Two Vermeers to be shown in Boston

February 7th, 2015
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.

New Vermeer monograph

February 7th, 2015
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.