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

updated Feb. 24, 2017

(226 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.
  • ALPERS, Svetlana. The Art of Describing in the Seventeenth Century. Chicago: University Of Chicago Press, 1984.
  • 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.
  • AILLUAD, Gilles, Albert Blankert, and John Michael Montias. Vermeer. Paris: Hazan, 1986.
  • ARASSE, Daniel. Vermeer. Princeton, NJ: Princeton University Press, 1993.
  • 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.
  • ASEMISSEN, Hermann. Jan Vermeer Die Malkust: Aspekte eines Berufsbildes (Frankfurt am Main: Fischer, 1993).
  • BADT, Kurt. Modell und Maler von Jan Vermeer: Probleme der Interpretation. Eine Streitschrift gegen Hans Sedlmayr (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.
  • BARNOUW, Adriaan. "Vermeers zoogenaamd 'Novum Testamentum,'" Oud Holland 32 (1914), 50-4.
  • BEGHEYN, Paul. "Johannes Vermeer en de jezuïeten te Delft." Oud Holland 121 (2008). 40–55.
  • BERGER, Harry Jr. "Conspicuous Exclusion in Vermeer: An Essay in Renaissance Pastoral." in 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.

    *(The two essays above have been republished together in Second World and Green World: Studies in Renaissance Fiction-Making. edited by John P. Lynch, Berkeley: University of California Press. 1988, 441–509.)
  • BERKEL, Klaas van. "Johannes Vermeer and Antoni van Leeuwenhoek." in ex. cat. , Johannes Vermeer; Der Geograph und Der Astronom nach 200 Jaren wieder vereint, Frankfurt, Stadelsches Kunstinstitut. (1997) 23–30
  • BERKEL, Klaas van, 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.
  • BINSTOCK, Benjamin. "The Apprenticeship of Maria Vermeer," Artibus et Historiae 57 (2008), 9-47.
  • 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 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. "The Case of Han van Meegeren's Fake Vermeer '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, 47-57.
  • BLANKERT, Albert. "Johannes Vermeers 'Kupplerin'—neu betrachtet." in Johannes Vermeer: Bei Der Kupplerin. exh. cat. Staatliche Kunstssammlungen Dresden. Dresden. 2004.
  • BLEYSWEIJCK, Dirck van. Beschrijving van Delft . Delft, 1667.
  • BIANCONI, Piero. The Complete Paintings of Vermeer (Classics of the World's Great Art). .London: Weidenfeld & Nicolson, 1970.
  • BLUM, André. Vermeer et Thoré-Bürger. Genève [etc.]: Les Éditions du Mont-Blanc s. a,, 1945.
  • 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.
  • BODE, Wilhelm von. "Jan Vermeer und Pieter de Hooch als Konkurrenten," Jahrbuch der Preussischen Kunstsammlungen 32 (1911), , repro.
  • BODE, Wilhelm von. Die Meister der holländischen und vlämischen Malerschulen. 2nd ed. Leipzig, 1919: 86–89. repro.
  • 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),271-3.
  • BRANDENBARG, Ton and Rudi Ekkart, eds. De We reid der geleerdheid rond Vermeer (Zwolle: Waanders, 1996).
  • BREDIUS, A. "Iets over Joftannes Vermeer." Oud-Holland, 3. 1885. 217.
  • BREDIUS, A. "Nieuwe bijdragen over Johannes Vermeer." Oud-Holland, 28, 1910, 61.
  • BREDIUS, A. "Italiaansche schilderijen in 1672 door Haagsche en Delftsche schilders beoordeeld." Oud-Holland, 34. 1916, 88.
  • BREDIUS, A. "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.
  • BRENTJENS, Yvonne. "Twee meisjes van Vermeer in Washington. Een kostuumstudie," Tableaux 77 (1985), 54-58.
  • BRYANT, Julius. Kenwood House: Catalogue of Paintings in the Iveagh Bequest. New Haven and London: Yale University Press, 2003.
  • 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 Wadu,. National Gallery of Art, New Haven and London: Yale University Press, 1995.
  • BROWN, Christopher. "Review of Wheelock et aI., Johannes Vermeer," Burlington Magazine 88 (1996), 282-283.
  • BUIJSEN, Edwin. 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.
  • CABANNE, Pierre. Vermeer. translated by John Tittensor. Paris, 2004.
  • CARSTENSEN, Richard, and Marielene Putscher. "Ein Bild von Vermeer in medizinhistorischen Sicht." Deutsches Ärzteblatt-Ärtzliche Mitteilungen 68 (December 1971).
  • 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, 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.
  • CHAPMAN, Perry H. "Inside Vermeer's Women." in Vermeer's Women: Secrets and Silence. exh. cat.
    Fitzwilliam Museum, Cambridge. New Haven: Yale University Press, 20001, 164–123.
  • CHAPMAN, Perry H. "Women in Vermeer's home-Mimesis and Ideation," Nederlands Kunsthistorisch Jaarboek 51 (2000),241-4.
  • CHONG, Alan. Johannes Vermeer, Gezicht op Delft (Bloemendaal: Gottmer and Becht, 1992).
  • Van CLEEMPOEL, K. "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.
  • 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.
  • 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
  • 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.
  • 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.
  • DUDATd, Helen. "Time stands still in the harmonious world of Vermeer." Smithsonian 26, no. 8 (November 1995)
  • ELOVSSON, Per-Olov. "The Geographer's Heart: A Study of Vermeer's Scientists."Konsthistorisk Tidskrift 6 (1991).
  • EMILIANI, Andrea. Vermeer (1632-1675). Milan, 1966.
  • 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 (2006) nr. 4, 263, afb. 2.
  • 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.
  • 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. Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution. New Haven and London: Yale University Press, 2004.
  • FRANITS, Wayne. The Cambridge Companion to Vermeer (Cambridge Companions to the History of Art). Cambridge: Cambridge University Press, 2001.
  • FRANITS, Wayne. "Johannes Vermeer: An Overview of His Life and Stylistic Evolution." in The Cambridge Companion to Vermeer (Cambridge Companions to the History of Art). Cambridge: Cambridge University Press 2001.
  • 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.
  • GASKELL, Ivan. "Vermeer, Judgment and Truth," Burlington Magazine 126 (1984), 557-6l.
  • GASKELL, Ivan and , Michea Jonker. 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. "Vermeer, Judgment and Truth,"The Burlington Magazine 126 (September 1984): 557–561.
  • 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
  • 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.
  • GODLEY, John. The Master Forger: The Story of Han van Meegeren. New York: Wilfred Funk. 1952.
  • GOLDSCHEIDER, L. Jan Vermeer. London: Phaidon. 1958.
  • GOODMAN, Elise. "The Landscape on the Wall in Vermeer." in The Cambridge Companion to Vermeer (Cambridge Companions to the History of Art) edited by Wayne Franits. Cambridge. 2001.
  • GOWING, Lawrence. Vermeer. London. 1952 and 1970.
  • GOODMAN-SOLNEAR, Elise. "The Landscape on the Wall in Vermeer," Konthistorisk Tidskrift 58 (1989), 76-88.
  • GRIMME, Ernst Günther. Jan Vermeer van Delft. Cologne. 1974.
  • 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.
  • 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." in The Burlington Magazine 18 (December 1910). 133–134.
  • GUDLAUGSSON, S. J. "Johannes Vermeer" in Kindlers Malerei Lexicon" V (Zurich: Kindler, 1968), 657-70. (Cited as GudlaugssQn 1968A.)
  • HAAG, Sabine, OBERTHALER, Elke Oberthale, PÉNOT, Sabine (eds.), in 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.
  • HAKS, Donald. "The Household of Johannes Vermeer." in 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).
  • HARMON, Roger. "Musica laetitiae comes" and Vermeer's Music Lesson." in Oud Holland 113 (1999). 161–166.
  • HAVARD, Henry. Van der Meer de Delft. Paris. 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) (Cambridge: Cambridge University Press, 2001),111-30.
  • HEDQUIST, Valerie. "The Real Presence of Christ and the Penitent Mary Magdalen in the Allegory of Faith by Johannes Vermeer." Art History, Volume 23, Number 3. September 2000. 333–364.
  • HENDRSON, Jasper and Victor Schiferli. Vermeer: The Life and Work of a Master. Amsterdam, 2011.
  • HERTEL, Christiane. Vermeer: Reception and Interpretation. Cambridge / New York. 1996.
  • HERTEL, Christiane. "Seven Vermeers: Collection, Reception, Response." in The Cambridge Companion to Vermeer (Cambridge Companions to the History of Art). edited by W. Franits, Cambridge and New York: Cambridge University Press. 2001.
  • HEUER, Christopher. "Perspective as process in Vermeer." in Anthropology and Aesthetics
    No. 38 (Autumn, 2000). 82–99.
  • HONIG, Elizabeth. "The Space of Gender in Seventeenth-Century Dutch Painting," in W. Franits, ed., Looking at Seventeenth-century Dutch Art: Realism Reconsidered (Cambridge: Cambridge University Press, 1997), 186-201.
  • HUBSCHMITT, William Evan. The art of painting : an iconographic examination of De Schilderconst by Johannis Vermeer of Delft. Dissertation State University of New York at Binghampton. 1986.
  • HUERTA, Robert D. Giants of Delft: Johannes Vermeer and the Natural Philosophers : The Parallel Search for Knowledge During the Age of Discovery. Lewisburg. 2003.
  • HUERTA, Robert D. Vermeer And Plato: Painting The Ideal. Lewisburg. 2005.
  • HULTEN, Karl. "Zu Vermeers Atelierbild," Konsthistorisk Tidskrift 18 (1949), 90-8.
  • HYAAT, Mayor A. "The Photographic Eye." Bulletin of the Metropolitan Museum of Art, new series vol. 1. 1946.
  • JANSON, Jonathan. Looking Over Vermeer's Shoulders. 2008.
  • JELLEY, Jane. " From Perception to Paint: the practical use of the Camera Obscura in the time of Vermeer." Art and Perception. July 2013.
  • JOHNSON, C. Richard Jr. and SETHARES, W. A., "Canvas Weave Match Supports Designation of Vermeer's Geographer and Astronomer as a Pendant Pair," JHNA 9:1 (Winter 2017),
    DOI: 10.5092/jhna.2017.9.1.17
  • de JONG, Eddy. "On Balance." in Vermeer Studies. Studies in the History of Art. edited by Ivan Gaskell and Michiel Jonker, National Gallery of Art Washington D.C., New Haven and London: Yale University Press, 1998.
  • JOWELL, Frances Suzman. "Vermeer and Thoré-Bürger: Recoveries of Reputation." 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. 35–57.
  • JOWELL, Frances Suzman. Thoré-Bürger and the art of the past. New York. 1977.
  • JOWELL, Frances Suzman. "Thoré-Bürger's art collection: 'a rather unusual gallery of bric-à-brac'." in Simiolus: Netherlands quarterly for the history of art, vol.30, 2003 no. 1/2. 54–55.
  • JOWELL, Frances Suzman. "Thoré-Bürger- A Critical Role in the Art Market." Burlington Magazine 138 (1996). 155–116.
  • JOWELL, Frances Suzman. "Thoré-Bürger and Vermeer: Critical and Commercial Fortunes." in Shop Talk: Studies in Horour of Seymour Slive (Cambridge, Mass. 1995), 125–126 n.11
  • KAHR, Madlyn Millner. "Vermeer's Girl Asleep, A Moral Emblem." in Metropolitan Museum Journal, VI. 1972.
  • KALDENBACH, Kees. "Ein 3D-Flug über die 'Ansicht von Delft' ; Johannes Vermeers Meisterwerk aus 1660 als virtuelle Welt" (A 3D flight over 'View of Delft', text in German) Weltkunst, Munich. February 1999. vol.69, no. 2, 308–310.
  • KALDENBACH, Kees. "Trekschuiten, haringbuizen en vrachtschepen op Vermeers Gezicht op Delft" in Tijdschrift voor Zeegeschiedenis, Vol. 19 nr. 1 (April) 2000. In 2001 a reprint has appeared in Historisch Jaarboek voor Delft, the year book of the Historische Vereniging Delfia Batavorum.
  • KALDENBACH, Kees, 'Het Straatje van Johannes Vermeer: Nieuwe Langendijk 24–26? Een kunsthistorische visie op een archeologisch en bouwhistorisch onderzoek' in Bulletin KNOB (Koninklijk Nederlandse Oudheidkundige Bond), Vol. 99 nr. 5–6, november–december 2000 239–249.
  • KALDENBACH, Kees. "Die kleine Strasse von Johannes Vermeer: Nieuwe Langendijk Nr. 22–26? Ein kunstgeschichtlicher Blick auf eine archäologische und baugeschichtliche Untersuchung" in Die Denkmalpflege. 2002.
  • KALDENBACH, Kees. "The Genesis of a Wall Chart on the Cultural Heritage of Seventeenth-Century Delft: Johannes Vermeer and the Delft School: a Chart of Homes of Delft Artists and Patrons in the Seventeenth Century." in Visual Resources, Vol. XVIII, No. 3, September 2002.
  • KALDENBACH, Kees. Research, map and text ,"Johannes Vermeer and the Delft School: A Full Colour Chart Showing the Homes of circa 120 Artists and circa 130 Patrons who Lived in Seventeenth-century Delft." Amsterdam. 2001.
  • KERSTEN, M.C.C. & D. H. A.C. Lokin. "Delft Masters, Vermeer's Contemporaries. Illusionism through the Conquest of Light and Space." in exh. cat. Stedelijk Museum het Princenhof, Delft. Zwolle: Waanders Publisher,. 1996.
  • KONINGSBERGER, Hans. The World of Vermeer 1632–1675 (Time-Life Library of Art). New York: Time-Life Books. 1967.
  • KLOEK, Wouter et al. Dutch art in the age of Rembrandt and Vermeer: Masterworks of the Golden Age from the Rijksmuseum Amsterdam. Tokyo. 2000.
  • KÜHN, Hermann. "A Study of the Pigments and Grounds Used by Jans Vermeer."Reports and Studies in the History of Art. (1968), 154–202.
  • KEYSILITZ, Rudolf. "Der 'Clavis interpretandi' in der hollandischen Malerei des 17," Jahrhunderts, Ph.D. diss. Munich.1956.
  • KNAFOU, Rémy. Vermeer: mystère du quotidien. Paris, 1994.
  • KRAMER, Maria. "A Study of the Paintings of Vermeer of Delft," The Psychoanalytic Quarterly 39 (1970), 389-426.
  • KREMPEL, León. "Allegorische Tronie-Paare bei Johannes Vermeer." in Tronies: das Gesicht in der frühen Neuzeit. edited by Dagmar Hirschfelder and León Krempel. Berlin, 2014.
  • LARSEN, Erik.. Jan Vermeer. trasnlated by Tania Gargiulo. Biblioteca d'arte. Florence, 1996.
  • LAURENZE-LANSABERG, Claudia. "Neutron-Autoradiography of two Paintings by Jan Vermeer in the Gemäldegalerie Berlin." 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. 211–225.
  • LEONHARD, Karin. "Vermeer's Pregnant Women. On Human Generation and Pictorial Representation" Art History 25 (2002), 293-318.
  • LEVY-VAN HALM, Koos. "Where di Vermeer Buy His Paining Materials? Theory and Practice." 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.
  • LIEDTKE, Walter. Vermeer and the Delft School, New York, 2001.
  • LIEDTKE, Walter. Vermeer: The Complete Catalogue, New York Harry N. Abrams, 2008.
  • LIEDTKE, Walter, "Vermeer Teaching Himself," in The Cambridge Companion to Vermeer (Cambridge Companions to the History of Art), edited by Wayne Franits, Cambridge, 2001.
  • LIEDTKE, Walter. The Milkmaid by Johannes Vermeer, The Metropolitan Museum of Art, New York, 2009.
  • LIESS, Reinhard. Jan Vermeer van Delft. Pieter Breugel d. A. Rogier van der Weyden. Drei Studien zur niederlandischen Kunst (G6ttingen: Reinhard Liess, 2004).
  • LINDENBURG, M. A. "Het 'Straatje' van Vermeer," Delfia Batavorum (1992), 83-91.
  • LOKIN, Danielle H. A. C. "Communicating the Proper Life: Dutch Literary Texts in the Seventeenth Centruy," in Human Connections in the Age of Vermeer, London, 2012.
  • LOPEZ, Jonathan. The Man Who Made Vermeers, New York: Mariner Books , 2008.
  • LOPEZ, Jonathan. "Van Meegeren's Early Vermeers," Apollo (July–August 2008), 22–29.
  • LUCAS, Edward Verrall, Vermeer the Magical, London, 1929.
  • LLOYD, David. "The Vermeers in America." International Studio 82, (November 1925): 12
  • MALRAUX, André.. '''Un artiste iI jamais inconnu . . .' Proposition d'une nouvelle chronologieet par Iii d'une nouvelle perspective-de l'oeuvre de Vermeer," Revue des Arts (1951), 195-204
  • MALRAUX, André. Vermeer de Delft, Paris, 1952.
  • MAARSEVEEN, M. P. van, Vermeer and Delft: His Life and His Times, Stedelijk Museum het Prinshof, Amersfoort, 1996.
  • MAYER-MIENTSCHEL, Annaliese. "Die Briefleserin von Jan Vermeer van Delft-zum inhalt und zur Geschichte des Bildes," Jahrbuch der Staatlichen Kunstsammlungen Dresden 11 (1978), 91-9.
  • MAYER-MIENTSCHEL, Annaliese."Vermeer's Kupplerin," Jahrbuch der Staatlichen Kunstsammlungen Dresden 15 (1986), 7-18.
  • MELTZOFF, Stanley. "The Rediscovery of Vermeer," Marsyas 2 (1942), 160-96.
  • MENZEL, Gerhard W. Vermeer, Leipzig, 1977.
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