Oil on canvas, 92 x cm. Dordrecht Museum, Dordrecht Maids, who were considered a sort of necessary evil, enjoyed the dubious privilege of being the subject of popular literature and plays. They spoke their mind to their masters and mistress and were pictured as untrustworthy, the most dangerous women of all.
Samuel van Hoogstraten Rotterdam, To comprehend the artistic climate in which Vermeer worked, it is useful to consult prevalent art theory.
In those times, it went without being questioned that history and the painting of human figures were the highest forms of art. Samuel Van Hoogstraten, who introduced the doctrine of the hierarchy of subjects to Dutch art theory in his Inleiding tot de Hooge Schoole der Schilderkunst, wrote that the highest level the third in his scheme of painting was to show the noblest emotions and desires of rational human beings.
In regards to portraiture: Such earrings were fashionable in Holland, and there are many examples of them in paintings by Van Mieris, Metsu and Ter Borch.
Artificial pearls were invented by M. Jacquin in France around this time, thin spheres of glass filled with l'essence d'orient, a preparation made of white wax and silvery scales of a river fish called ablette, or bleak, but cultured pearls were also coming in from Venice.
Pearls are linked with vanity but also with virginity—a wide enough iconographic spectrum. In the 17th century, pearls were an important status symbol.
At about the same time the traveling French art connoisseur Balthasar de Monconys had been shown a single-figured painting by Vermeer which had reputedly been paid guilders and that he considered the price outrageous.
Mauritshuis, The Hague Although the intimate mood of this work is impressing, its compositional origin does not derive soley from conventional portraiture. Vermeer expert Walter Liedtke pointed out that Vermeer, "with his gift for creative synthesis, saw that a newly fashionable type of genre picture, which was evidently introduced by Gerrit ter Borch, could be modified expressively by adopting an arrangement familiar fron Dutch and Flemish 'scholar portraits' such as Rubens' Caspar Gevartius see Related Image no.
The type was well known through prints and had been treated on small scale by several Dutch painters, as seen in Jan Olis's Portrait of Johan van Beverwijck in his Studio see leftof about Vermeer seems to have relegated his concerns about still life painting to the recess of the background wall in the form of a dark Vanitas.
This anonymous work, which can barely be read today, very likely belonged to his mother-in-law Maria Thins. Most historians would concur that Vermeer would have never included in an arbitrary manner such a large element in his composition even though symbolic readings thus far proposed by art hsitrians are not unanimous.
It is not impossible that Vermeer shunned the still life genre. According to Samuel van Hoogstraten, a painter and art theoretician who codified the hierarchical status of subject matter in painting, still life occupied the very bottom tier. He demeaned still life painters as "the foot soldiers in the army of art.
Notwithstanding theoretical warnings, still life paintings far outstripped in number history paintings which Van Hoogstraten placed at the uppermost tier, history paintings, which he claimed revealed "the noblest actions and intentions of rational beings.
National Gallery, London If natural ultramarine blue may be considered the king of Vermeer's palette, lead-tin yellow would be justly called its queen.
All of the yellow morning jackets were painted with lead-tin yellow and it was used as an admixture to modify the color of other paints. Lead-tin yellow is a thick grainy paint which brushes well and has great hiding power. It was one of the most common bright pigments see detail left being evidently relatively inexpensive to produce.
Lead-tin yellow had several different names in the past. Italian manuscripts described a color, giallolino, which is identical to lead-tin yellow.
The current name lead-tin yellow is self explanatory. It is a result of heating a mixture of red lead and tin dioxide at about C to C.Woman Reading a Letter, Johannes Vermeer, c. oil on canvas, h cm × w 39cm × d cm More details Enjoying a quiet, private moment, this young woman is absorbed in reading a letter in the morning light.
Traditional scholarship interpreted Vermeer's Vanitas as an admonition on the young woman's vain and flighty pastime: letter writing. Critic Peter Sutton observed that letter writing being associated with vanity and transitory pleasure was well established in genre painting of the time.
A Lady Writing a Letter (also known as A Lady Writing; Dutch: Schrijvend meisje) is an oil painting attributed to 17th century Dutch painter Johannes initiativeblog.com is believed to have been completed around The Lady is seen to be writing a letter and has been interrupted, so gently turns her head to see what is initiativeblog.com: Johannes Vermeer.
Woman Reading a Letter, Johannes Vermeer, c. oil on canvas, h cm × w 39cm × d cm More details. Enjoying a quiet, private moment, this young woman is absorbed in reading a letter in the morning light.
She is still wearing her blue night jacket. Lady Writing a Letter with her Maid is a painting by the Dutch artist Johannes Vermeer, completed in – and held in the National Gallery of initiativeblog.com work shows a middle-class woman attended by a housemaid who is presumably acting as messenger and go-between for the lady and her lover.
The work is seen as a bridge between the Location: National Gallery of Ireland. Vermeer's A Lady Writing from the National Gallery of Art Norton Simon Museum; Kyoto 25 June–16 October, Communication: Visualizing Human Connection in the Age of Vermeer Woman Writing a Letter Gerrit ter Borch c.
Oil on panel, 38 x cm. Mauritshuis, The Hague The Reader Eglon van der Neer Oil on canvas, x cm.