E. V. Bibliography: The Life and Work of Johannes Vermeer

updated May 10, 2017

(474 entries)

If you have corrections or suggestions for any of the Essential Vermeer Online Bibliographies, please send them to the author and webmaster of this site, jonathanjanson@essentialvermeer.com

Vermeer books
  • ABELS, Paul. "Church and Religion in the Times of Vermeer." In Dutch Society in the Age of Vermeer. Zwolle: Waanders Publishers, 1996.
  • ADHEMAR, Helene. "La Vision de Vermeer par Proust, it travers Vaudoyer."Gazette des Beaux Arts 68 (1966): 291–302.
  • AKASEGAWA Genpei. Ferumēru no me. Tokyo: Kodansha, 1998.
  • AILLUAD, Gilles, Albert Blankert, and John Michael Montias. Vermeer. Paris: Hazan, 1986.
  • AINSWORTH, Maryn Wynn, Egbert Haverkamp-Begemann, John Brealey, and Pieter Meyers, with contributions by Karin Groen, Maurice J. Cotter, Lambertus van Zelst, and Edward V. Sayre. Art and Autoradiography: Insights into the Genesis of the Paintings of Rembrandt, Van Dyck and Vermeer. New York, Metropolitan Museum of Art, 1993.
  • ALPERS, Svetlana. The Art of Describing in the Seventeenth Century. Chicago: University Of Chicago Press, 1984.
  • ALPERS, Svetlana. "The Strangeness of Vermeer." Art in America (1996): 62–69.
  • ALTENA, J.Q. van Regteren. "A Juvenile Work by Johannes Vermeer." Oud Holland 75, 194 –194
  • .
  • ARASSE, Daniel. Vermeer, Faith in Painting. Princeton, NJ.: Princeton University Press, 1994.
  • ARASSE, Daniel. "Vermeer's Private Allegories," In Vermeer Studies, edited by Ivan Gaskell and Michiel Jonker. National Gallery of Art Washington D. C., New Haven and London: Yale University Press, 1998. 341–343.
  • ASEMISSEN, Hermann. Jan Vermeer Die Malkust: Aspekte eines Berufsbildes. Frankfurt: Fischer, 1993.
  • AUWERA, Joost Vander. "Taking Local Hhistory Seriously the Case of the Chandelier in 'Saint Luke Painting the Virgin' by Abraham Janssen van Nuyssen and in 'The Art of Painting' by Johannes Vermeer van Delft." Artium Historia (2001): 317–338.
  • BADT, Kurt. Modell und Maler von Jan Vermeer: Probleme der Interpretation. Eine Streitschrift gegen Hans Sedlmay. Cologne: DuMont Schauberg, 1961.
  • BAILEY, Anthony. Vermeer: A View of Delft. New York: H. Holt, 2001.
  • BAILEY, Martin. Vermeer (Colour Library). London: Phaidon Press, 1995.
  • BALK, Hildelies Balk. “Kennerschap en zelfbedrog. Dirk Hannema en Johannes Vermeer." Kunstschrift , no. 2 (2007): 40–45.
  • BARNOUW, Adriaan. "Vermeers zoogenaamd 'Novum Testamentum..'" Oud Holland 32 (1914): 50–54.
  • BIESBOER, P.Over Johannes Vermeer van Delft, 1632–1675. Delft: VVV Delft. 1900.
  • BEGHEYN, Paul. "Johannes Vermeer en de jezuïeten te Delft." Oud Holland 121 (2008): 40–55.
  • BERGER, Andrea Ch.Das intermediale Gemäldezitat Zur literarischen Rezeption von Vermeer und Caravaggio. 2014.
  • BERGER, Andrea Ch. “Vermeer intermedial! Überlegungen zur Popularität seiner Gemälde in zeitgenössischen Erzähltexten (Discussion Papers)." Kunstgeschichte Open Peer Reviewed Journal (2014).
  • BERGER, Harry Jr. "Conspicuous Exclusion in Vermeer: An Essay in Renaissance Pastoral." Yale French Studies 47 (1973): 243–265.
  • BERGER, Harry Jr. "Some Vanity of his Art: Conspicuous Exclusion and Pastoral in Vermeer." Salmagundi 44–45 (1979): 89–112.
  • BERKEL, Klaas van (ed.), Jørgen Wadum, and K, Zandvliet, K., with contribution from Rudi Ekkart. The Scholarly World of Vermeer. Zwolle: Waanders Publishers, 1996.
  • BERKEL, Klaas van. "Vermeer and the Representation of Science." In The Scholarly World of Vermeer, Zwolle: Waanders Publishers, 1996.
  • BERKEL, Klaas van. "Johannes Vermeer and Antoni van Leeuwenhoek." In ex. cat. Johannes Vermeer: Der Geograph und Der Astronom nach 200 Jaren wieder vereint, 23–30. Frankfurt, Stadelsches Kunstinstitut. 1997.
  • BEGHEYN, Paul. “Johannes Vermeer en de jezuïeten te Delft." Oud Holland 121 (2008): 40–55.
  • BIANCONI, Piero. The Complete Paintings of Vermeer (Classics of the World's Great Art). London: Weidenfeld & Nicolson, 1970.
  • BINSTOCK, Benjamin. "The Apprenticeship of Maria Vermeer." Artibus et Historiae 57 (2008): 9–47.
  • BINSTOCK, Benjamin. Vermeer's Family Secrets: Genius, Discovery and the Unknown Apprentice. New York: Routledge, 2009.
  • BLANC, Jan. Vermeer: La Fabrique de la Gloire. Paris: Citadelles & Mazenod, 2014.
  • BLANKERT, Albert, with contributions by Rob Ruurs and Willem van de Watering. Vermeer of Delft: Complete Edition of the Paintings. Oxford: Phaidon, 1978.
  • BLANKERT, Albert and Louis Grijp,."An Adjustable Leg and a Book: Vermeer's 'Lacemaker' Compared to Others." In Shop Talk: Studies in Honour of Seymour Slive. 1995.
  • BLANKERT, Albert. "Vermeer's Modern Themes and Their Tradition." In Johannes Vermeer, edited by Arthur K. Wheelock Jr., with contributions by Ben Broos, and Jørgen Wadu. National Gallery of Art, New Haven and London: Yale University Press 1995.
  • BLANKERT, Albert. Selected Writings on Dutch Paintings: Rembrandt, Van Beke, Vermeer and Others. Zwolle: Waanders Publishers, 2004.
  • BLANKERT, Albert. "Johannes Vermeer's 'Kupplerin'-neu betrachtet." In Johannes Vermeer: Bei Der Kupplerin. exh. cat. Staatliche Kunstssammlungen Dresden. Dresden. 2004.
  • BLANKERT, Albert. "Vermeer's 'View of Delft' Restored." in Selected Writings On Dutch Painting. Rembrandt, Van Beke, Vermeer and Others. Zwolle: Waanders Uitgevers. (2004): 267–270.
  • BLANKERT, Albert. "The Case of Han van Meegeren's Fake Vermeer 's "Supper at Emmaus' Reconsidered." In Amy Golahny et aI., eds, In His Milieu. Essays on Netherlandish Art in Memory of John Michael Montias . Amsterdam: Amsterdam University Press, 2006.
  • BLANKERT, Albert. "The Case of Han van Meegeren's Fake Vermeer: 'The Supper at Emmaus' Reconsidered." In In his Milieu: Essays on Netherlandish art in Memory of John Michael Montias. Amsterdam: Amsterdam Univ. Press. (2007): 359–367.
  • BLEYSWEIJCK, Dirck van. Beschrijving van Delft (Description of the City of Delft). Delft, 1667. 854 and 859.
  • BLOCH, Vitale. All the Paintings of Vermeer. Translated by M. Kitson, New York: Hawthorn Books, 1963.
  • BLOCH, Vitale. and Jacqueline Faure. Vermeer: Suivi de l'Éloge de Thoré-Bürger. Paris: Quatre Chemins-Éditart (Impr. Union), 1966.
  • BLUM, André. Vermeer et Thoré-Bürger. Genève [etc.]: Les Éditions du Mont-Blanc, 1945.
  • BODE, Wilhelm von. "Jan Vermeer und Pieter de Hooch als Konkurrenten." Jahrbuch der Preussischen Kunstsammlungen 32 (1911).
  • BODE, Wilhelm von. Die Meister der holländischen und vlämischen Malerschulen. 2nd ed. Leipzig, 1919. 86–89.
  • BOMFORD, David. "Perspective, Anamorphosis, and Illusion: Seventeenth-Century Dutch Peep Shows," In Vermeer Studies, edited by Ivan Gaskell and Michiel Jonker. National Gallery of Art Washington D.C., New Haven and London: Yale University Press, 1998.
  • BOURICIUS, L. G. N. "Vermeeriana." Oud Holland 42 (1925): 271–273.
  • BOZAL FERNÁNDEZ, Valeriano. Johannes Vermeer de Delft. Madrid: TF Editores, 2002.
  • BRAIDER, Christopher S. "The Denuded Muse: The Unmasking of Point of View in the Cartesian Cogito and Vermeer's 'The Art of Painting.'" Poetics Today, vol. 10, no. 1, Art and Literature I (Spring, 1989): 173–203.
  • BRADDOCK, Rowena, and Nicholas Routley. "Productive Disjunction and the Play of Rupture: Rading "the blanks" In "Writing to Vermeer." Musicology Australia. 27 (2004–2005): 73–93.
  • BRANDENBARG, Ton and Rudi Ekkart. De We reid der geleerdheid rond Vermeer. Zwolle: Waanders, 1996.
  • BREDIUS, Abraham. "Iets over Johannes Vermeer ('De Delftsche Vermeer')." Oud-Holland 3 (1885): 217.
  • BREDIUS, Abraham. "Nieuwe bijdragen over Johannes Vermeer." Oud-Holland 28 (1910): 61.
  • BREDIUS, Abraham. "Italiaansche schilderijen in 1672 door Haagsche en Delftsche schilders beoordeeld." Oud-Holland, 34. 1916, 88.
  • BREDIUS, Abraham. "Schilderijen uit de nalatenschap van den Delltschen Vermeer." Oud-Holland 34 (1916): 160 sgg.
  • BREDIUS, Abraham. "An Unpublished Vermeer." Burlington Magazine 61 (1932): 144–145.
  • BREDIUS, Abraham. "A New Vermeer." Burlington Magazine 71 (1937): 21l.
  • BREDIUS, Abraham. "Nog een woord over Vermeer's Emmausganger." Oud Holland 55, (1938): , 97–99.
  • BRÉE, Germaine . "Proust's Combray Church: Illiers or Vermeer?" Proceedings of the American Philosophical Society, vol. 112, No. 1 (Feb. 15, 1968): 5–7.
  • BRENTJENS, Yvonne. "Twee meisjes van Vermeer in Washington. Een kostuumstudie." Tableaux 77 (1985): 54–58.
  • BRION, Marcel. Vermeer. New York: Abrams, 1963.
  • BROERSMA, Geerte. "Vermeer, Vermeer en nog eens Vermeer." In De jonge Vermeer, edited by Edwin Buijsen. The Hague (Mauritshuis): Zwolle 2010. 74-75.
  • BROOS, Ben. "Vermeer: Malice and Misconception." In Vermeer Studies, edited by Ivan Gaskell and Michiel Jonker. National Gallery of Art Washington D.C., New Haven and London: Yale University Press, 1998, 18–31.
  • BROOS, Ben. 'Un celbre Peintre nomé Verme[e]r.' " In Johannes Vermeer, edited by Arthur K. Wheelock Jr,. with by Ben Broos, and Jørgen Wadum, National Gallery of Art, New Haven and London: Yale University Press, 1995.
  • BRYANT, Julius. Kenwood House: Catalogue of Paintings in the Iveagh Bequest. New Haven and London: Yale University Press, 2003.
  • BROWN, ChristoDantzig, H. van. Johannes Vermeer; de Emmausgangers en de critici (Amsterdam: Sijthoff, 1947). pher. "Review of Wheelock et aI., Johannes Vermeer." Burlington Magazine 88 (1996): 282–283.
  • BUIJSEN, Edwin (ed.). The Young Vermeer. The Hague: WBooks. 2010.
  • BUIJSEN, Edwin. "Music and the Age of Vermeer," In Dutch Society in the Age of Vermeer. Zwolle: Waanders Publishers. 1996.
  • BUIJSEN, Edwin.“De sprekende handen van de jonge Vermeer/ The Expressive Hands of the Young Vermeer." Mauritshuis in Focus 31 (2010): 6–12.
  • BUVELOT, Quentin. "Vermeer and Dutch Painting: Rome." The Burlington Magazine. (2012): 872–873.
  • BUVELOT, Quentin. “Scenes of Everyday Life? Some Reflections on Dutch Genre Painting in the Seventeenth Century,” In exh. cat. Masters of the Everyday. Dutch Artists in the Age of Vermeer. Chicago: University of Chicago, 2015.
  • CABANNE, Pierre. Vermeer. Translated by John Tittensor. Paris: Maxi-livres. 2004.
  • CARSTENSEN, Richard, and Marielene Putscher. "Ein Bild von Vermeer in medizinhistorischen Sicht." Deutsches Ärzteblatt-Ärtzliche Mitteilungen 68 (December, 1971).
  • CHANTAVOINE, ,Jean. 1926. Ver Meer de Delft; Biographie Critique. PAris: Laurens. 1926.
  • CHAPMAN, Perry H. "Women in Vermeer's home-Mimesis and Ideation." Nederlands Kunsthistorisch Jaarboek 51 (2000): 241–244.
  • CHAPMAN, H. Perry, "Women in Vermeer's Home." In Wooncultuur in de Nederlanden 1500–1800/The Art of Home in the Netherlands 1500–1800. edited by Märiet Westermann, Nederlands Kunsthistorisch Jaarboek 51 (2001): 237–271.
  • CHAPMAN, Perry H. "Inside Vermeer's Women," In Vermeer's Women: Secrets and Silence. exh. cat.
    Fitzwilliam Museum, Cambridge. New Haven: Yale University Press, 2001, 164–123.
  • CHAPMAN, H. Perry. "Reading Dutch art: science and fiction in Vermeer." The Art Historian. (2003): 110–127.
  • CHAPMAN, H. Perry. Michael Cole, and Mary Pardo. "The Imagined Studios of Rembrandt and Vermeer." In Inventiones of the Studio, Renaissance to Romanticism, edited by Michael Cole. Chapel Hill, NC: Chapel Hill Press, 2005. 108–146.
  • CHONG, Alan. Johannes Vermeer, Gezicht op Delft. Bloemendaal: Gottmer and Becht, 1992.
  • CLEEMPOEL, K. van. "Representations of Astrolabes in Western Art." in K. Van Cleempoel (ed.), Astrolabes at Greenwich. A Catalogue of the Astrolabes in the National Maritime Museum. Greenwich. Oxford: Oxford University Press. 2005. 99–111.
  • COREMANS, P.B. Van Meegeren's Faked Vermeers and de Hoochs. London: Cassell; Amsterdam: Meulenhoff, 1949.
  • COSTARAS, Nicola. "A Study of the Materials and Techniques of Johannes Vermeer." In Vermeer Studies, edited by Ivan Gaskell and Michiel Jonker. National Gallery of Art Washington D.C., New Haven and London: Yale University Press, 1998.
  • CUNNAR, Eugene. "The Viewer's Share: Three Sectarian Readings of Vermeer's 'Woman Holding a Balance.'" Exemplaria 2 (1990): 501–536.
  • DANDRIEU, Laurent. Les peintres de l'invisible : Le Greco, Rembrandt, Vermeer et autres messagers de l'infini. Paris: Les éditions du Cerf, 2016.
  • DANTZIG, H. van. Johannes Vermeer; de Emmausgangers en de critici. Amsterdam: Sijthoff, 1947.
  • DEKIERT, Marcus. Vermeer in München: König Max I Joseph von Bayern als Sammler Alter Meister. exh. cat. Bayerisches Staatsgemäldesammlungen, Alte Pinakothek. Munich, 2011
  • DELSAUTE, Jean-Luc. "The Camera Obscura and Painting in the Sixteenth and Seventeenth Centuries." In Vermeer Studies, edited by Ivan Gaskell and Michiel Jonker. National Gallery of Art Washington D.C., New Haven and London: Yale University Press, 1998.
  • DESCARGUES, Pierre. Vermeer, trans. J. Emmons, Geneva: Albert Skira, 1966.
  • DESLANDRES, Sandra. Les Stratégies Vissueles chez Vermeer ou Le Paradox du
    Spectateur
    . Montréal (Québec, Canada), Université du Québec à Montréal, Maîtrise en histoire de l'art. 2013.
  • DIODATO, Roberto. Vermeer, Góngora, Spinoza: l'esthétique comme science intuitivetr. Translated by Yamina Oudaï Celso. Éditions Mimésis, 2016.
  • DOLNICK, Edward. The Forger’s Spell: A True Story of Vermeer, Nazis, and the Greatest Art Hoax of the Twentieth Century. New York: Harper Perennial, 2008.
  • DREYFOUS, Georges. L'Oeuvre de Jan Vermeer de Delft. Paris. 1912.
  • DÜCHTING, Hajo. Jan Vermeer und seine Zeit. Stuttgart: Belser, 2011.
  • DUDAR, Helen. "Time Stands Still in the Harmonious World of Vermeer." Smithsonian 26, no. 8 (November 1995).
  • DÜCHTING, Hajo. Jan Vermeer und seine Zeit. Stuttgart: Belser, 2011.
  • ECKERSLEY, Dominic. "Vermeer’s Ruckers Muselar Virginal: Vermeer’s Painting of a Ruckers Muselar Virginal in 'The Music Lesson' c. 1662–65. Harpsichord & Fortepiano (Spring, 2014): 32–43.
  • EICHE, Sabine. "'The Artist in his Studio' by Jan Vermeer: About a Chandelier." Gazette Des Beaux-Arts.(1982): 203–204.
  • ELOVSSON, Per-Olov. "The Geographer's Heart: A Study of Vermeer's Scientists." Konsthistorisk Tidskrift 6 (1991).
  • EMILIANI, Andrea. Vermeer (1632–1675). Milan, 1966.
  • EYCK, Caroline van. “A New Interpretation of Vermeer’s Allegory of Faith: Vividness and Figural Interpretation”, In Walter S. Melion, James Clifton and Michel Weemans (eds.), Imago Exegetica. Visual Images as Exegetical Instruments, 1400–1700, Leiden 2014: 157–185.
  • FELL, Herbert Granville. Vermeer: Masterpieces in Colour. edited by T.L. Hare. London and Edinburgh, 1934.
  • FILIPCZAK, Z .Z. "Vermeer, Elusiveness, and Visual Theory." Simiolus 32 no. 4 (2006): 259–272.
  • FINK, Daniel A. "Vermeer's Use of the Camera Obscura: A Comparative Study." The Art Bulletin 53 (1971).
  • FLEISCHER. " Ludolf de Jong's The Refused Glass and its Effect on the Art of Vermeer and De Hooch," In Rembrandt, Rubens and the Art of their Tme: Recent Perspectives. Roland E. Flseischer and Susan C. Scott, University Park, Penn, The Pennsylvania State University. 1997.
  • FORD, Charles. "Vermeer to Eternity." The Oxford Art Journal. (1997): 86–88.
  • FRANKFURT. Johannes Vermeer: "Der Geograph und der Astronom nach 200 Jahren wieder verient." in exh. cat. by Michael Mac-Gerard, with essays by Klass va Berkel, Jørgen Wadum, Peter Waldeis and Arthur K. Wheelock Jr. Frankfurt am Main, Stadelsches Kunstisnstitut und Stadtische Galerie, Frankfurt. 1997.
  • FRANITS, Wayne. Looking at Seventeenth-century Dutch Art. Realism Reconsidered. Cambridge: Cambridge University Press, 1997.
  • FRANITS, Wayne. The Cambridge Companion to Vermeer (Cambridge Companions to the History of Art). edited by W. Franits, Cambridge UK and New York: Cambridge University Press. 2001.
  • FRANITS, Wayne, ed. "Johannes Vermeer: An Overview of His Life and Stylistic Evolution." In The Cambridge Companion to Vermeer (Cambridge Companions to the History of Art). Cambridge UK and New York: Cambridge University Press. 2001.
  • FRANITS, Wayne. Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution. New Haven and London: Yale University Press, 2004.
  • FRANITS, Wayne. "Living in the Lap of Luxury: Vermeer: His Admirers and his Patrons." In Vermeer's Women: Secrets and Silence. Hartford. 2011, 124–151.
  • FRANITS, Wayne. Vermeer (Art and Ideas). London: Phaidon Press. 2014
  • FRIMMEL, Theodor von. "A Woman Weighing Pearls by Vermeer of Delft." The Burlington Magazine 22 (October, 1912): 48–49.
  • FROMENTIJN, Eugene. The Masters of Past Time. Paris, 1876; new edn, ed. H. Gerson. London and New York, 1948.
  • FRY, Roger. "Diana and Her Nymphs." The Burlington Magazine for Connoisseurs, vol. 19, no. 100 (July, 1911): 206–207+211.
  • FUKUOKA, Shin'ichi. Ferumeru hikari no okoku. Tokyo: Kirakusha, 2011.
  • FURST, Herbert. ""The Sphinx of Delft": The Three-Hundredth Anniversary of Jan Vermeer." Apollo. (1932): 236–239.
  • GARDNER, Elizabeth E. "Thoré's Sphinx." The Metropolitan Museum of Art Bulletin, New Series, vol. 7, no. 3 (Nov, 1948): 73–78.
  • GASKELL, Ivan. "Valuing Vermeer." In Vermeer Studies. edited by Ivan Gaskell and Michiel Jonker. National Gallery of Art Washington D.C., New Haven and London: Yale University Press, 1998. 9–17.
  • GASKELL, Ivan. "Vermeer, Judgment and Truth." The Burlington Magazine 126 (September 1984): 557–561.
  • GASKELL, Ivan and , Michea Jonker, eds. Vermeer Studies. National Gallery of Art Washington D.C., New Haven and London: Yale University Press, 1998.
  • GASKELL, Ivan. "Vermeer and the Limits of Interpretation." In Vermeer Studies. edited by Ivan Gaskell and Michiel Jonker. National Gallery of Art Washington D.C., New Haven and London: Yale University Press, 1998.
  • GASKELL, Ivan. Vermeer's Wager (Essays in Art and Culture). London: Reaktion Books. 2000.
  • GASKELL, Ivan. "New York and London: Vermeer and the Delft School." The Burlington Magazine. (2001): 452–455.
  • GELDER, J.G. van. "Jan Vermeer's Clio." Oud Holland 66 (1951): 44–45.
  • GELDER, J.G. van."Diana door Vermeer en C. de Vos." Oud Holland, 71 (1956): 245.
  • GELDER, J.G. van. con commento di J. A. Emmens. De Schilderkunst van Jan Vermeer. Utrecht. 1958.
  • GEORGIEVSKA-SHINE, Aneta, "'A counterfeit of what has to decay': Vermeer and the Mapping of Absence in A Woman with a Lute." JHNA 9:1 (Winter 2017),: DOI: 10.5092/jhna.2017.9.1.15
  • GEORGIEVSKA-SHINE. "Vermeer: The Art of Meditation, and 'The Allegory of Faith." Personification (2016): 461–488.
  • GERSON, H. "Johannes Vermeer." In Encyclopedia of World Art, New York-Toronto-London, XIV, 1967, col. 739 sgg.
  • GIFFORD, E. Melanie. "Painting Light: Recent Observations on Vermeer's Technique," In Vermeer Studies, edited by Ivan Gaskell and Michiel Jonker. National Gallery of Art Washington D.C., New Haven and London: Yale University Press, 1998.
  • GLASS, Marguerite. "The Appreciation of Vermeer in Twentieth-Century America." In The Cambridge Companion to Vermeer (Cambridge Companions to the History of Art). edited by W. Franits, Cambridge UK and New York: Cambridge University Press. 2001.
  • GODLEY, John. The Master Forger: The Story of Han van Meegeren. New York: Wilfred Funk. 1952.
  • GOLDIN, Marco, Quentin Buvelot and Lea van der Vinde. La ragazza con l'orecchino di perla: il mito della Golden Age; da Vermeer a Rembrandt; capolavori dal Mauritshuis. Conegliano Treviso: Linea dombra. 2014.
  • GOLDSCHEIDER. L. Jan Vermeer. London: Phaidon. 1958.
  • GOODMAN, Elise. "The Landscape on the Wall in Vermeer." Konthistorisk Tidskrift 58 (1989): 76–88.
  • GOODMAN, Elise. "The Landscape on the Wall in Vermeer," In The Cambridge Companion to Vermeer (Cambridge Companions to the History of Art). edited by W. Franits, Cambridge UK and New York: Cambridge University Press. 2001.
  • GOWING, Lawrence. Vermeer. London. 1952 and 1970.
  • GOWING, Lawrence. "Light on Baburen and Vermeer." The Burlington Magazine, vol. 93, no. 578 (May, 1951): 169–170.
  • GRABSKI, Józef. Jan Vermeer van Delft: (1632–1675): "St. Praxedis": An Exhibition of a Painting from the Collection of Barbara Piasecka Johnson, May–September 1991, International Cultural Centre, Cracow, Wawel Royal Castle, Cracow. Vienna: Irsa. 1991.
  • GREGORY, Quint [Henry D. Gregory V]. "Vermeer, tout l'oeuvre peint." Connaissance des Arts 522 (November, 1996).
  • GREUB, Thierry, J. "Vermeer van Delft: junge Dame mit Perlenhalsband." In Werk aus der Gemäldegalerie Staatliche Museen zu Berlin Preussischer Kulturbesitz. Berlin-Tiergarten, Kulturforum Matthäikirchplatz. Berlin. 2003.
  • GREUB, Thierry. Vermeer, oder, Die Inszenierung der Imagination. Petersberg: M. Imhof, 2004.
  • GRIJZENHOUT, Fran. “Een schrijfstertje van Vermeer. Jacob Oortman en de Dissius-veiling van 1696." Oud Holland 123 (2010): 65–75.
  • GRIJZENHOUT, Frans. Het straatje van Vermeer: gezicht op de Penspoort in Delft. Rijksmuseum, Stedelijk Museum Het Prinsenhof Amsterdam: Rijksmuseum, 2015.
  • GRIMME, Ernst Günther. Jan Vermeer van Delft. Cologne: DuMont Buchverlag, 1974.
  • GROEN, Karin M. van der WERF, Inez D., van der BERG, Klaas Jan, BOON, Jaap J., "Scientific Examination of Vermeer's Girl with a Pearl Earring," In Vermeer Studies, edited by Ivan Gaskell and Michiel Jonker. National Gallery of Art Washington D.C., New Haven and London: Yale University Press, 1998.
  • GROEN, Karin. "Painting Technique In the Seventeenth Century In Holland and the Possible Use of the Camera Obscura by Vermeer." in Inside the Camera Obscura–Optics and Art under the Spell of the Projected Image. Max Planck Institute for the History of Science, reprint 333. 2007. 195–210.
  • GROOT, Hofstede C. A. de. Catalogue Raisoneé of the works of the Most Eminent Dutch Painters of the Seventeenth Century, vols.10, 1907–1928; vol.1, "Johannes Vermeer"
  • GROOT, Hofstede C. A. de."A Newly Discovered Picture by Vermeer of Delft." The Burlington Magazine 18 (December, 1910): 133–134.
  • GUDLAUGSSON, S. J. "Johannes Vermeer" in Kindlers Malerei Lexicon" V (Zurich: Kindler, 1968): 657–670.
  • GUTRUF, Gerhard and Hellmuth Stachel. "The Hidden Geometry in Vermeer’s ‘The Art of Painting.'" Journal for Geometry and Graphics vol. 14, no. 2 (2010): 187–202.
  • HAAG, Sabine, OBERTHALER, Elke Oberthale, PÉNOT, Sabine (eds.) Vermeer. Die
    Malkunst
    .
    exh. cat. edited by Kunsthistorisches Museum Vienna, 2010.
  • HAKS, Donald and Marie Christine van der Sman (eds.) Dutch Society in the Age of Vermeer. Zwolle: Waanders Publishers, 1996.
  • HALE, Philip. L. Vermeer. Boston: Small, Maynard, 1937.
  • HALE, Philip. L. Vermeer, revised by F. Coburn and R. Hale. New York: Cushman and Flint, 1937.
  • HALLORAN, Thomas O. "Reconstructing the Space, in Vermeer’s 'Officer and Laughing Girl.'" Anistorian: In Situ, vol. 8, September 2004. http://www.anistor.gr/english/enback/p043.htm.
  • HAN-PILE, Béatrice. "Describing reality or disclosing worldhood?: Vermeer and Heidegger." Art and Phenomenolog. (2011): 138–161.
  • HANNEMA, Dirk. Vermeer: Oorsprong en Invloed: Fabritius, De Hooch, De Witte. exh. cat. Museum Boymans, Rotterdam, 9 July–9 October, 1935. Rotterdam: Museum Boymans. 1935.
  • HARMON, Roger. "Musica laetitiae comes" and Vermeer's 'Music Lesson.'" Oud Holland 113 (1999): 161–166.
  • HARVARD, Henry. Van der Meer de Delft. Paris: Librairie de l'Art. 1888.
  • HAUSENSTEIN, Wilhelm. "Vermeer van Delft." Das Bild Atlanten zur Kunst 10 (1924).
  • HEDINGER, Barbel. "Karten in Bildern. Zur politischen Ikonographie der Wandkarte bei Willem Buyteweech und Jan Vermeer" in H. Bock and T. Gaehtgens, eds, Holandische Genremalerei im 17. Jahrhundert Symposium Berlin 1984 (Berlin: Mann, 1984).
  • HEDQUIST, Valerie. "The Real Presence of Christ and the Pentinent Mary Magdalen in the 'Allegory of Faith' by Johannes Vermeer." Art History 23 (2000).
  • HEDQUIST, Valerie. "Religion in the Art and Life of Vermeer." In The Cambridge Companion to Vermeer (Cambridge Companions to the History of Art). edited by W. Franits, Cambridge UK and New York: Cambridge University Press. 2001. 111–130.
  • HEDQUIST, Valerie. "The Real Presence of Christ and the Penitent Mary Magdalen in the Allegory of Faith by Johannes Vermeer." Art History, vol. 23, no. 3. (September, 2000): 333–364.
  • HELLESSE, F. S. V. Luc Scaccianoce. Introduction au songe de Johannes Vermeer. Lugny, 1979.
  • HENDRSON, Jasper and Victor Schiferli. Vermeer: The Life and Work of a Master. Amsterdam: Rijksmuseum, 2011.
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