In his book Vermeer’s Family Secrets (Routledge in 2009), Cooper Union art history professor Benjamin Binstock proposed that four paintings by Vermeer, including the Girl with a Red Hat, might actually have been painted by his daughter, Maria, who he further identified as the model for the famous Girl with a Pearl Earring. Thus far, however, Binstock’s thesis has been met with silence in the art historical press—itself a fascinating response. But what if we were to take Binstock’s claims seriously, or at least allow them a fair hearing? How might we go about doing so? Beyond that, what if we in turn were to think about how such theories make their way through the art historical vetting process? How generally does scholarship evaluate such claims, and in turn how ought we evaluate how it does so? And if Binstock were proven right?
An all-day symposium will address Binstock’s unorthodox theory and related questions will be held at the NYU Cantor Film Center, Saturday May 18, 2013 (11:00 a.m. – 6: p.m.). The symposium will attended by Benjamin Binstock, Anthony Grafton, Linda Nochlin, Chuck Close (painter), James Elkins (art historian), Vincent Desiderio, Rachael Cohen and Ulrich Baer.