-
Essential Vermeer Time is an open door onto the spinning wheels, grinding cogs, ideas, inspirations, doubts and dreams that make the Essential Vermeer website run full steam ahead.
You'll find information about what’s currently under development and way down the pipeline, an occasional opinion as well as bits and pieces of what I come across skimming the web that may not wind up anywhere in the Essential Vermeer but seem worth noting.
And, obviously, you'll find the latest Vermeer news, practically real time.
Jonathan Janson, author of Essential Vermeer - Rome, Italy
-
Categories
Blogs
Vermeer Collections
- Buckingham Palace, The Royal Collection
- Frick Collection
- Herzog Anton Ulirich-Museum
- Isabella Stewart Gardner Museum
- Kenwood House
- Kunshistorisches Museum, Vienna
- Mauritshuis
- Metropolitan Museum of Art
- Musée du Louvre
- National Gallery of Art
- National Gallery of Ireland
- National Gallery of Scotland
- National Gallery, London
- Private collection, New York
- Rijksmuseum
- Staatliche Museen Preussischer Kulturbesitz, Gemaldergallerie, Berlin
- Staatlichen Kunstsammlungen, Dresden
- Städelsches Kunstinstitut, Frankfurt
-
Any purchase you make at Amazon will help the Essential Vermeer become the website that Vermeer deserves.
-
Behind Essential Vermeer
In June, 2001, I launched the Essential Vermeer as a one-page list of available Vermeer-related websites and literature.*
After 12 years , it has evolved into a 951 MB (on hard drive) Vermeer resource with over 500 web pages, 3,000 images, 200 audio files, bibliographies, interviews with Vermeer notables and scores of innovative interactive studies, including the innovative Complete Interactive Vermeer Catalogue.
The website newsletter—now 3,500 subscribers strong—informs subscribers about everything Vermeer that's going on and, hopefully, bridges a bit of the gap between long-time Vermeer devotees, neophytes and savvy art scholars. Both the website and newsletter are freely-accessible and non-commercial.
Running Essential Vermeer is a complicated (and rewarding) enterprise.
To maintain constant progress and the highest quality of Essential Vermeer's contents, I devote on the average 5 hours a day to doing research, writing, code, graphics and optimization. Editing and reediting practically never finishes. And then, there's always the all-important communication. Broken down, let’s say I spend about 1 hour after breakfast, 2 after lunch and 2 to 3 in the evenings working on the site. Weekends often get out of hand, marathon style and Sunday-night soar eyes.
*The first days of the Essential Vermeer is captured here for posterity but without pity by the Way Back Machine.
Popular posts
- Tim’s Vermeer…from a painter’s point of view
- Do museums have copyrights on their Old Master paintings? No, Not really.
- Download a High-resolution image of Vermeer’s Girl with a Pearl Earring for free
- Vermeer-related lecture
- Two Hi-Res images of Vermeer Paintings
- Why is Vermeer’s painting so popular?
- Lost Vermeer recreated
- Tim’s Vermeer update
- New Hi-Res Vermeer Images
- Will we ever see Vermeer’s Concert Again? Perhaps…
Search
Archives
- December 2015
- November 2015
- October 2015
- May 2015
- April 2015
- February 2015
- January 2015
- December 2014
- August 2014
- July 2014
- June 2014
- March 2014
- February 2014
- January 2014
- December 2013
- November 2013
- October 2013
- September 2013
- August 2013
- June 2013
- May 2013
- April 2013
- March 2013
- January 2012
- November 2011
- October 2011
- June 2011
- May 2011
- March 2011
- February 2011
- January 2011
- August 2010
- April 2010
- March 2010
- February 2010
- January 2010
- December 2009
- November 2009
- October 2009
- September 2009
- August 2009
- July 2009
- June 2009
- May 2009
- April 2009
- March 2009
- February 2009
- January 2009
- December 2008
- November 2008
- October 2008
Essential Vermeer Time is proudly powered by
WordPress
Entries (RSS)
and Comments (RSS).
Many thanks from those who are not able to visit this really extraordinary show.
Special compliments to the didactic treatment (wall with all currently existing Vermeer-paintings; where else does one find such extensive explaining texts to each painting – reducing at least the disturbing audio-guides; period objects rendered in the Milkmaid – only a real footwarmer is missed although still available on Dutch Antique markets…) and the tasteful presentation (the walls’ warm yellow echoing Vermeer’s famous combination of lemon-yellow and yellow ocher). Only the lighting seems quite dark – not favorable for closer studying, but certainly enhancing the paintings’ magic.
My sincerest congratulations to the responsible Director and his staff!
ARech