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

(218 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, 1996.
  • ALPERS, S., The Art of Describing in the Seventeenth Century, London,1983.
  • AINSWORTH, Maryn Wynn, Art and Autoradiography: Insights into the Genesis of the Paintings of Rembrandt, Van Dyck and Vermeer, New York, 1993.
  • ARASSE, Daniel, Vermeer, Princeton, 1993.
  • ARASSE, Daniel, "Vermeer's Private Allegories," in Vermeer Studies, ed. by Ivan Gaskell and Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven and London, 1998.
  • BAILEY, Anthony, Vermeer: A View of Delft, New York, 2001.
  • BAILEY, Martin, Vermeer (Colour Library), London, 1995.
  • BEGHEYN, Paul Begheyn, "Johannes Vermeer en de jezuïeten te Delft," Oud Holland 121 (2008), p.40-55.
  • BERGER, Harry Jr., "Conspicuous Exclusion in Vermeer: An Essay in Renaissance Pastoral," in Yale French Studies 47, 1973, pp. 243-265.*
  • BERGER, Harry Jr., "Some Vanity of His Art: Conspicuous Exclusion and Pastoral in Vermeer," Salmagundi, 44-45, 1979, pp. 89-112.*

    *(The two essays above have been republished together in Second World and Green World: Studies in Renaissance Fiction-Making, ed. by John P. Lynch, Berkeley: University of California Press, 1988, pp. 441-509.)
  • BERKEL, Klaas van, "Johannes Vermeer and Antoni van Leeuwenhoek," in ex. cat., Frankfurt, Johannes Vermeer; Der Geograph und Der Astronom nach 200 Jaren wieder vereint, pp. 23-30, Stadelsches Kunstinstitut, 1997.
  • BERKEL, Klaas van, WADUM, Jørgen, ZANDVLIET, K., with contribution from EKKART, Rudi, The Scholarly World of Vermeer, Zwolle, 1996.
  • BERKEL, Klaas van, "Vermeer and the Representation of Science," in The Scholarly World of Vermeer, Zwolle, 1996.
  • BLANKERT, Albert, with contributions by RUURS, Rob and van de WATERING, Willem, Vermeer of Delft: Complete edition of the paintings, Oxford, 1978.
  • BLANKERT, Albert, and GRIJP, Louis, "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 ed. by Arthur K. Wheelock Jr. (with contributions by Albert Blankert, Ben Broos, and Jørgen Wadum), 1995.
  • BLANKERT, Albert, Selected Writings on Dutch Paintings: Rembrandt, Van Beke, Vermeer and Others, Zwolle, 2004.
  • BLANKERT, Albert, "Johannes Vermeers 'Kupplerin' - neu betrachtet," in Johannes Vermeer: Bei Der Kupplerin, exh. cat. Staatliche Kunstssammlungen Dresden, Dresden, 2004.
  • BIANCONI, Piero, The Complete Paintings of Vermeer, New York, 1967.
  • BLUM, André, Vermeer et Thoré-Bürger, Genova, 1946.
  • BLOCK,Vitali, Tutta la pittura de Vermeer di Delft, Milan, 1954.
  • BODE, Wilhelm von, "Jan Vermeer und Pieter de Hooch als Konkurrenten,"in Jahrbuch der Königlich Preussischen Kunstsammlungen 32 (1911): 1-2, 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, ed. by Ivan Gaskell and Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998.
  • BREDIUS, A., "Iets over Joftannes Vermeer," in Oud-Holland, 3, 1885, pp. 217
  • BREDIUS, A., "Nieuwe bijdragen over Johannes Vermeer," in Oud- Holland, 28, 191O, p. 61.
  • BREDIUS, A., "Italiaansche schilderijen in 1672 door Haagsche en Delftsche schilders beoordeeld," in Oud-Holland, 34, 1916, pp. 88.
  • BREDIUS, A., "Schilderijen uit de nalatenschap van den Delltschen Vermeer," in Oud-Holland 34, 1916, pp. 160 sgg.
  • BRYANT, Julius, Kenwood House: Catalogue of Paintings in the Iveagh Bequest, New Haven/London, 2003
  • BROOS, Ben, "Vermeer: Malice and Misconception," in Vermeer Studies, ed. by Ivan Gaskell and Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998, pp. 18- 31.
  • BROOS, Ben, " 'Un celbre Peintre nomé Verme[e]r,' " in Johannes Vermeer, ed. by Arthur K. Wheelock Jr. (with contributions by Albert Blankert, Ben Broos, and Jørgen Wadum), 1995.
  • BUIJSEN, Edwin, The Young Vermeer, The Hague, 2010.
  • BUIJSEN, Edwin, "Music and the Age of Vermeer," in Dutch Society in the Age of Vermeer, Zwolle, 1996.
  • CHAPMAN, H. Perry, "Women in Vermeer’s Home" in Wooncultuur in de Nederlanden 1500-1800/The Art of Home in the Netherlands 1500-1800, ed. by Märiet Westermann, Nederlands Kunsthistorisch Jaarboek 51, 2001, 237-71.
  • CHAPMAN, H. Perry, Michael COLE, and Mary PARDO. "The imagined studios of Rembrandt and Vermeer,"in Inventiones of the studio, Renaissance to Romanticism. Ed. Michael COLE. Chapel Hill, NC: [publisher], 2005. 108-146.
  • CHAPMAN, Perry H., "Inside Vermeer's Women," in Vermeer's Women: Secrets and Silence, Hartford, 2011, pp. 64-122.
  • 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, pp. 99-111.
  • COSTARAS, Nichola, "A Study of the Materials and Techniques of Johannes Vermeer," in Vermeer Studies, ed. by Ivan Gaskell and Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998.
  • deLSAUTE, Jean-Luc, "The Camera Obscura and Painting in the Sixteenth and Seventeenth Centuries," in Vermeer Studies, ed. by Ivan Gaskell and Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998
  • ELOVSSON, Per-Olov, "The Geographer's Heart: A Study of Vermeer's Scientists," in Konsthistorisk Tidskrift 60, 1991.
  • FILIPCZAK, Z.Z. "Vermeer, elusiveness, and visual theory," Simiolus 32 (2006), nr. 4, p. 263, afb. 2.
  • FINK, Daniel A.,"Vermeer's Use of the Camera Obscura: A Comparative Study," in 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, exh. cat. by Michael Mac-Gerard, with essays by Klass va Berkel, Jørgen Wadum,Peter Waldeis, and Arthur Wheelock Jr., Frankfurt am Main, Stadelsches Kunstisnstitut und Stadtische Galerie, Frankfurt, 1997.
  • FRANITS, Wayne, Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution, New Haven/London, 2004
  • ed. by FRANITS, Wayne, The Cambridge Companion to Vermeer (Cambridge Companions to the History of Art), Cambridge, 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), ed. by Wayne Frantis, Cambridge, 2001.
  • FRANITS, Wayne, "Living in the Lap of Luxury: Vermeer, his Admirers and his Patrons," in Vermeer's Women: Secrets and Silence, Hartford, 2011, pp. 124-151.
  • FRIMMEL, Theodor von, "A Woman Weighing Pearls by Vermeer of Delft," in The Burlington Magazine 22 (October 1912): 48-49.
  • ed. by GASKELL, Ivan and JONKER, Micheal, Vermeer Studies, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998.
  • GASKELL, Ivan, "Vermeer and the Limits of Interpretation," in Vermeer Studies. Studies in the History of Art, ed. by Ivan Gaskell and Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998.
  • GASKELL, Ivan, Vermeer's Wager (Essays in Art and Culture), London, 2000.
  • GASKELL, Ivan, "Vermeer, Judgment and Truth," in The Burlington Magazine 126 (September 1984): 557-561.
  • van GELDER, J.G., "Jan Vermeer's Clio," Oud Holland 66 (1951), p. 44-45.
  • van GELDER, J.G., "Diana door Vermeer en C. de Vos," in Oud Holland, 71, 1956, pp. 245.
  • van GELDER, J.G. con commento di J. A. Emmens, De Schilderkunst van Jan Vermeer, Utrecht, 1958.
  • 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. Studies in the History of Art, ed. by Ivan Gaskell and Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998.
  • GODLEY, John, The Master Forger: The Story of Han van Meegeren, New York, 1952.
  • GOLDSCHEIDER, L., Jan Vermeer, London, 1958.
  • GOODMAN, Elise, "The Landscape on the Wall in Vermeer," in The Cambridge Companion to Vermeer (Cambridge Companions to the History of Art) ed. by Wayne Franits, Cambridge, 2001.
  • GOWING, Lawrence, Vermeer, London, 1952 and 1970.
  • GRIMME, Ernst Günther, Jan Vermeer van Delft, Cologne, 1974.
  • GREUB, Thierry, J. Vermeer van Delft : junge Dame mit Perlenhalsband : ein 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," inVermeer Studies. ed. by Ivan Gaskell and Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 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, pp.195-210.
  • de GROOT, Hofstede C., A Catalogue Raisoneé of the works of the Most Eminent Dutch Painters of the Seventeenth Century, vols.10, 1907-1928; Vol.1, "Johannes Vermeer"
  • de GROOT, Hofsrtede, Cornelis, "A Newly Discovered Picture by Vermeer of Delft," in The Burlington Magazine 18 (December 1910): pp. 133-134.
  • HAAG, Sabine, OBERTHALER, Elke Oberthale, PÉNOT, Sabine (eds.), in Vermeer. Die
    Malkunst
    .
    exh. cat. ed. by Kunsthistorisches Museum Vienna 2010.
  • HAKS, Donald and SMAN, Marie Christine van der (eds.), Dutch Society in the Age of Vermeer, Zwolle, 1996.
  • HAKS, Donald, in "The Household of Johannes Vermeer," in Dutch Society in the Age of Vermeer, Zwolle, 1996.
  • HALE, P. L., Vermeer, London 1937.
  • HARMON, Roger, "Musica laetitiae comes" and Vermeer's Music Lesson," in Oud Holland 113 (1999), pp. 161-166.
  • HAVARD, Henry, Van der Meer de Delft, Paris, 1888: 37, no. 30.
  • 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)
  • 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, pp. 333-364.
  • 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), ed. 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), pp. 82-99, 2000.
  • HUBSCHMITT, William Evan, The art of painting : an iconographic examination of De Schilderconst by Johannis Vermeer of Delft, Dissertation State University of sNew 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.
  • 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'," n Art and Perception, July 2013.
  • de JONG, Eddy, "On Balance," in Vermeer Studies. Studies in the History of Art, ed. by Ivan Gaskell and Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998.
  • JOWELL, Frances Suzman, "Vermeer and Thoré-Bürger: Recoveries of Reputation," in Vermeer Studies, ed. by Ivan Gaskell and Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998, pp.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, pp.54-55.
  • JOWELL, Frances Suzman, "Thoré-Bürger- A Critical Role in the Art Market," Burlington Magazine 138 (1996), pp. 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," 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, p. 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 p. 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. Visual Resources, Vol. XVIII, No. 3, September 2002
    (research, map and text by KALDENBACH, Kees, Johannes Vermeer and the Delft school : a full colour chart showing the homes of circa 120 artists and circa 130 patrons who lived in 17th century Delft, Amsterdam, 2001)
  • KERSTEN, M.C.C. & LOKIN, D. H. A.C., Delft Masters, Vermeer's Contemporaries. Illusionism through the Conquest of Light and Space, exh. cat., Stedelijk Museum het Princenhof, Delft; Zwolle, 1996.
  • KONINGSBERGER, Hans, The World of Vermeer 1632-1675, New York, 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.
  • KUHN, Hermann, "A Study of the Pigments and Grounds Used by Jans Vermeer," in Reports and Studies in the History of Art, 1968, pp. 154-202.
  • KEYSILITZ, Rudolf, "Der 'Clavis interpretandi' in der hollandischen Malerei des 17," Jahrhunderts, Ph.D. diss., Munich,1956.
  • 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, pp. 211-225.
  • LEVY-VAN HALM, Koos, "Where di Vermeer Buy His Paining Materials? Theory and Practice," in Vermeer Studies, ed. by Ivan Gaskell and Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998.
  • LIEDTKE, Walter, Vermeer and the Delft School, New York, 2001.
  • LIEDTKE, Walter, Vermeer: The Complete Catalogue, New York, 2008.
  • LIEDTKE, Walter, "Vermeer Teaching Himself," in The Cambridge Companion to Vermeer (Cambridge Companions to the History of Art), ed. by Wayne Franits, Cambridge, 2001.
  • LIEDTKE, Walter, The Milkmaid by Johannes Vermeer, The Metorpolitan Museum of Art, New York, 2009.
  • 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, 2008.
  • LOPEZ, Jonathan, "Van Meegeren’s Early Vermeers," in Apollo (July-August 2008), pp. 22-29.
  • LUCAS, Edward Verrall, Vermeer the Magical, London, 1929.
  • 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.
  • MENZEL, Gerhard W., Vermeer, Leipzig, 1977.
  • MIEDEMA, Hessel, "Jan Vermeer's Art of Painting," in Vermeer Studies, ed. by Ivan Gaskell and Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998.
  • MILLS, A. A., "Vermeer and the camera obscura: some practical considerations," in Leonardo 31, 1998, pp. 213-218.
  • MIRIMONDE, Albert P. de., "Les Sujets musicaux chez Vermeer de Delft," in Gazette des Beaux-Arts 57, January 1961.
  • MONTIAS, John Michael, Vermeer and His Milieu: A Web of Social History, Princeton, 1989.
  • MONTIAS, John Michael, "The Guild of St. Luke in Seventeenth Century Delft and the Economic Status of Artists and Artisans," in Simiolus 9, 1977, pp. 93-105.
  • NASH, J M., Vermeer, London, 1991.
  • NASH, J. M., "To Find the Mindes construction in the Face," in Vermeer Studies, ed. by Ivan Gaskell and Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998.
  • NEIDHART, Uta and GIEBE, Marlies with essays by Albert Blankert, Chrisitne Klose, Johann Koller, Annalise Mayer-Meintsschel et. al., Johannes Vermeer 'Bei der Kupplerin,' exh. cat., Dresden, 2004.
  • NETTA, Irene, "Jan Vermeer. Die Sphinx von Delft" Weltkunst, Jg., Heft 10, Ausgabe 15. Mai 1996, S. 1148-1150.
  • NETTA, Irene, "The Phenomenon of Time in the Art of Vermeer," in Vermeer Studies, ed. by Ivan Gaskell und Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998, S. 257-263.
  • NETTA, Irene, Vermeer's World: An Artist and His Town,, Prestel USA, 2001.
  • NETTA, Irene, Zeit als gestalterisches Element bei Jan Vermeer van Delft und Bill Viola, in: Geschichten des Augenblicks. Projektionen (Film, Dia, Video) zum Thema Erzählung und Langsamkeit / Moments in Time. On Narration and Slowness, Ausst.Kat. Städtische Galerie im Lenbachhaus, München 1999, S. 143 - 155.(german/english)
  • NEURDENBURG, E., "Nog enige opmerkingenover Johannes Vermeer van Delft," in Oud Holland, 66, 1951, pp. 33-34.
  • NEVITT JR., H. Rodney, "Vermeer and the Question of Love," in The Cambridge Companion to Vermeer (Cambridge Companions to the History of Art), ed. by Wayne Franits, Cambridge, 2001.
  • NICHOLSON, Benedict, Vermeer, Lady at the Virginals, London, 1946.
  • van PEER, A.J.I.M., "Was Jan Vermeer von Delft Katholiek?" in Kath. Cu. Tijdschrift, 2, I, pp. 468-4 70.
  • van PEER, A.J.I.M., "Drie collecties schilderijen van Jan Vermeer" in Oud-Holland, 72, 1957, pp. 92.
  • van PEER, A.J.I.M., "Rondom Jan Vermeer van Delft," in Oud-Holland 74, 1959, pp. 240.
  • van PEER, A.J.I.M., "Jan Vermeer van Delft: drie archiefvondsten," in Oud-Holland 83, 1968, pp. 220.
  • PEETERS, Harry, "Vermeer and his Work. A View," in Dutch Society in the Age of Vermeer, Zwolle, 1996.
  • PLIETZSCH, E., Vermeer van Delft, Leipzig, 1911.
  • QUODBACH, Esmée, "The "Sphinx of Delft": Rediscovering Vermeer at The Frick Collection," in Members' Magazine. summer edition, 2008. This article can for the moment be accessed at the Frick Collection website < http://www.frick.org/exhibitions/vermeer/quodbach.htm >
  • ROBINSON, James, "Vermeer," in Classical Realism Journal III/2, 1997: 4-21, repro. 15.
  • RUINA, Epco and vand de PLOEG, Peter, Vermeer in Mauritshuis, Zwolle, 2006.
  • RUGLER, Axel, Vermeer and Painting in Delft, London, 2001.
  • SALOMON, Nanette, "Vermeer and the Balance of Destiny," in Essays in Northern European Art Presented to Egbert Haverkamp Begemann on His Sixtieth Birthday. Anne-Marie Logan, ed. Doornspijk, 1983.
  • SALOMON, Nanette, "From Sexuality to Civility: Vermeer's Women," in Vermeer Studies, ed. by Ivan Gaskell and Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998.
  • SCHNEIDER, Norbert, Jan Vermeer 1632.1675: Veiled Emotions, Cologne, 1994.
  • SCHWARTZ, Heinrich, "Vermeer and the Camera Obscura," in Pantheon, XXIV, 1966.
  • SEYMOUR, C., Jr., "Dark Chamber and Light-Filled Room: Vermeer and the Camera Obscura," in Art Bulletin 46, 1964, pp. 323-331.
  • SLAKTES, Leonard J., Vermeer and His Contemporaries, New York, 1981.
  • SLATKES, Leonard J., "Utrecht and Delft: Vermeer and Caravaggism," in Vermeer Studies. Studies in the History of Art, ed. by Ivan Gaskell and Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998.
  • SLATKE, van Scendel, "The Love Letter Restored," Bulletin van het Rijksmuseum 20, 1993.
  • SLUIJTER, Eric Jan, "Vermeer Fame, and Female Beauty: The Art of Painting," in Vermeer Studies ed. by Ivan Gaskell und Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998.
  • SNOW, Edward A., A Study of Vermeer, 2nd. rev. ed. Berkley and London, 1979.
  • SONNENBURG, Hubert von, "Technical Comments," in Bulletin of the Metropolitan Museum of Art 31, Summer 1973: unpaginated.
  • STEADMAN, Phillip, Johannes Vermeer, 2001.
  • STONE, Harriet, "Bearing Witness to the Light: Descartes and Vermeer," in Intersections, Actes du 35th annuel de la North American Society for Seventeenth-Century French Literature, ed. by Faith E. Beasley and Kathleen Wine, Dartmouth College, May 8-10, 2003.
  • STONE, Harriet, Tables of Knowledge, Descartes in Vermeer’s Studio, Oxford Universtiy Press, 2006
  • SUTTON, Peter, with contributions by Lisa Vergara and Ann Jensen Adams, Love Letters: Dutch Genre Paintings in the Age of Vermeer, London, 2004.
  • SUTTON Peter, Vermeer and the Delft Style, 2008,
  • SWILLENS, Pieter T. A., Johannes Vermeer Painter of Delft: 1632-1675, Utrecht / Brussels, 1955.
  • TAYLOR, Paul, "Vermeer, Lairesse and Composition," in Hofstede de Groot-lezing, Rijksbureau voor Kunsthistorische Documentatie, Zwolle, 2010.
  • van THIEL, Pieter J. J., "The Damaging and Restoration of Vermeer's 'Love Letter," in Bulletin van het Rijksmuseum 20, 1972.
  • THEINEN, Frithjof van, Jan Vermeer of Delft, New York, 1949.
  • THORÈ-BÜRGER, Théophile J. Bürger (William Burger), "Van der Meer de Delft," in Gazette des Beaux-Arts 21 (October-December 1866): pp. 297-330, 458-470, 542-575, no. 26/27.
  • THORSTEN SMIDT, Bearb., Johannes Vermeer: der Geograph: die Wissenschaft der Malerei, Kassel, 2003.
  • TOLNAY, Charles de, "L'Atelier de Vermeer,"in Gazzette des Beaux-Arts 41, 1953.
  • TRAUTSCHOLDT, E., "Johannes Vermeer," in Thieme-Becker, XXXIV, 1940, pp. 265.
  • WADUM, Jørgen, with contributions by L. Struik van der Loeff and R. Hoppenbrouwers Vermeer Illuminated. Conservation, Restoration and Research, The Hague, 1994.
  • WADUM, Jørgen, Johannes Vermeer (1632-1675) and His Use of Perspective, in Preprints Historical Painting Techniques, Materials, and Studio Practice. University of Leiden, 26-29 June (1995) 148-154. Malibu.
  • WADUM, Jørgen & N. Costaras, "Johannes Vermeer’s ‘Girl with a Pearl Earring’ De- & Re-Restored, in Restauration, Dé-Restauration, Re-Restauration," in ARAAFU (1995) 163-172. Paris.
  • WADUM, Jørgen, "Vermeer in Perspective," in exh.cat. Johannes Vermeer, National Gallery of Art, Washington, D.C., Royal Cabinet of Pictures Mauritshuis, The Hague (1995-1996) 67-79.
  • WADUM, Jørgen, "Les audaces techniques de Vermeer," in Dossiers de l´Art 27, Paris, 30-39.
  • WADUM, Jørgen, "Des perspectives curieuses et extraordinaires," in Dossiers de l´Art 27,Paris, 42-49.
  • WADUM, Jørgen, "Vermeer and the Spatial Illusion," in The World of Learning in the time of Vermeer (exhibition cat.), Museum Meermanno-Westreenianum (Museum of the Book), The Hague, 31-49.
  • WADUM, Jørgen, "Gemälde mögen einige hundert Jahre bestehen, was genügt..," Zwei Gemälde von Johannes Vermeer restauriert, in Restauro 3 (1996). München, 172-177.
  • WADUM, Jørgen, Vermeers zielgerichtete Beobachtungen, in cat. Johannes Vermeer. Der Geograph und der Astronom nach 200 Jahren wieder vereint. Städelsches Kunstinstitut und Städtische Galerie, Franckfurt am Main 15.05.-13.07. (1997) 31-38.
  • WADUM, Jørgen, "Contours of Vermeer," in Vermeer Studies, 55. Center for Advanced Study in the Visual Arts, Symposium Papers XXXIII, eds. I. Gaskel and M. Jonker. Washington/New Haven (1998) 201-223.
  • WADUM, Jørgen, review of Vermeer’s Camera: Uncovering the Truth Behind the Masterpieces, by Philip Steadman. 202 pp. incl. 10 col. pls. + 72 b. & w. figs. (Oxford University Press, Oxford, 2001). ISBN 0-19-215967-4, in ArtMatters - Netherlands Technical Studies in Art (1) 2002.
  • See also:
    Carol Pottasch, Ruth Hoppe and Elmer Kolfin, "Diana, Vermeer and technical ambiguity. The metamorphosis of an early painting by Vermeer," in ArtMatters - Netherlands Technical Studies in Art (1), 2002..
  • WADUM, Jørgen, "Vermeer's Use of Perspective, in Historic Painting Techniques, Materials, and Studio Practice," Reprints of a Symposium Held at the University of Leiden, The Netherlands, 26-29 June 1995, Santa Monica, 1995.
  • WAIBOER, Adriaan E., "A Clean Competition: Some Hypotheses on Vermeer’s Lost Gentleman Washing His Hands" in: A.W.A. Boschloo, S.S. Dickey, N.C. Sluijter-Seijfert, J.N. Coutré (eds), in Aemulatio: Essays in Honour of Eric Jan Sluijter, Amsterdam 2011, pp. 407–18.
  • WAIBOER, Adriaan E. "Vermeer’s Impact on His Contemporaries," in Oud Holland, 123 (2010), pp. 51–64.
  • WALSH, I. Jr., "Vermeer," in The Metropolitan Museum of Art Bulletin, 31, n. 4, summer 1973, pp. Il.
  • WALICKI, Michal, Jan Vermeer van Delft, Dresden, 1970.
  • WEBER, Gregor J.M., "Ein neu entdecktes Bild im Bild von Johannes Vermeer," Weltkunst 70,2 (February 2000), p. 225-228.
  • WEBER, Gregor J.M., "Johannes Vermeer, Pieter Janz, van Aesch und das Problem der Abbildungstreue," in Oud Holland 108, 1994.
  • WEBER, Gregor J.M., "Antoine Dezallier d'Argenville unf funf Kustler namens Jan van der Meer," in Oud Holland 107, 1993.
  • WEBER, Gregor J.M.,"A Question of Framing: On Vermeer’s 'Woman in Blue Reading a Letter,'" in The Rijksmuseum Bulletin vol. 60, 2012, pp.20-27.
  • WEBER, Gregor, "Vermeer's Use of the Picture-within-a-Picture: A New Approach," in Vermeer Studies, ed. by Ivan Gaskell and Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998.
  • WELU, James A., "Vermeer: His Cartographic Sources," in Art Bulletin 57, 1975, pp. 529-547.
  • WELU, James A., "Vermeer's Astronomer: Observations on an Open Book," in Art Bulletin 57, 1975.
  • WELU, James A., Jan Vermeer, New York, 1981.
  • WELU, James A., Vermeer and Cartography, Ph.d. diss, Boston University, 1977.
  • WELU, James A., "The Map in Vermeer's 'The Art of Painting," in Imago Mundi 30, 2nd series, 1978.
  • WESTERMANN, Mariët, "Vermeer and the Interior Imagination," in Vermeer and the Dutch Interior, ed. by Alejandro Vergara, Madrid, 2003.
  • WESTERMANN, Mariët, Vermeer's Pictorial Intelligence, Amsterdam, 2003.
  • WESTERMANN, Mariët, A Worldly Art. The Dutch Republic 1585-1718, New York, 1996.
  • WESTERMANN, Mariët, Art and Home. Dutch Interiors in the Age of Rembrandt, exh.cat., Denver, Denver Art Museum, and Newark (New Jersey) The Newark Art Museum, 2001-2002.
  • WESTERMANN, Mariët, "'Costly and Curious, Full of pleasure and home contentment," Making Home in the Dutch Republic," in Art and Home. Dutch Interiors in the Age of Rembrandt, 2001-2002, pp. 15-81.
  • WHEELOCK, Arthur K. Jr., Jan Vermeer, 1981.
  • WHEELOCK, Arthur K. Jr., Vermeer; The Complete Works, New York,1997.
  • WHEELOCK, Arthur K. Jr., Vermeer and the Art of Painting, New Haven and London, 1995.
  • WHEELOCK, Arthur K. Jr., Johannes Vermeer, (with contributions by BLANKERT, Albert, BROOS, Ben, and WADUM, Jørgen), New Haven and London, 1995.
  • WHEELOCK, Arthur K. Jr. and KALDENBACH, C. J., "Vermeer's 'View of Delft' and His Vision of Reality,"in Artbus et Historiae 3 no. 6, 1982.
  • WHEELOCK, Arthur K. Jr., "Pentimenti in Vermeer's Paintings; Changes in Style and Meaning," Holländische Genremalerei im 17. Jahrhundert, Symposium Berlin, Jahrbunch preussischer Kulturbesitz Sonderband 4 (1985), pp.385-412.
  • WHEELOCK, Arthur. K.Jr., "Vermeer and Bramer: A New Look at Old Documents," in Leonaert Bramer 1596-1674: A Painter of the Night, Milwaukee, 1992, pp.19-22.
  • WHEELOCK, Arthur. K.Jr., "Saint Praxedis: New Light on the Early Career of Vermeer," in Artibus et Historiae 14, 1987.
  • WHEELOCK, Arthur K., author/editor with contrib. by Michiel C. Plomp, Daniëlle H.A.C. Lokin, Quint Gregory, The Public and the Private in the Age of Vermeer, London, 2000.
  • WHEELOCK, Arthur K, Jr. and LOKIN, Danielle H. A. C., Human Connections in the Age of Vermeer, London, 2012.
  • van der WIEL, Kees, "Delft in the Golden Age," in Dutch Society in the Age of Vermeer, Zwolle, 1996
  • WIESMAN, Marjorie, "Vermeer Women: Secrets and Silence," in Vermeer's Women: Secrets and Silence, Hartford, 2011,. pp. 2-63.
  • WIESEMAN, Mary Bittner, "Vermeer and the Art of Silence," in The Journal of Aesthetics and Art Criticism, vol. 64 no. 3, Summer 2006, pp. 317-324.
  • WILLIAMS, Frederick W., Vermeer's vision: interesting discovery: direct evidence of his thought: general outline of his grand theme: relevance to our time, 1999.
  • de WINKEL, Marieke, "The Interpretation of Dress in Vermeer's Painting," in Vermeer Studies, ed. by Ivan Gaskell and Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998, pp. 327-335.
  • WOLF, Brian Jay, Vermeer and the Invention of Seeing, 2001.
  • WRIGHT, Christopher, Vermeer, London, 1976.
  • van der WULP, Bas, "A View of Delft in the Age of Vermeer," in Dutch Society in the Age of Vermeer, Zwolle, 1996.
  • VANZYPE, Gustave. Jan Vermeer de Delft, Brussels and Paris, 1921.
  • VEEN, Jaap van der, "The Delft Art Market in the Age of Vermeer," in HAKS, Donald and SMAN, Marie Christine van der (eds.), in Dutch Society in the Age of Vermeer, Zwolle, 1996, pp. 124-135.
  • VERGARA, Lisa, "Antiek and Modern in Vermeer's Lady Writing a Letter with Her Maid," in Vermeer Studies, ed. by Ivan Gaskell und Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998.
  • VERGARA, Lisa, "Perspectives on Women in the Art of Vermeer," in The Cambridge Companion to Vermeer (Cambridge Companions to the History of Art), ed. by Wayne Franits, Cambridge, 2001.
  • VERGARA, Alejandro, Vermeer and the Dutch Interior, Madrid, 2003.
  • VERSLYPE, Ige, "The restoration of 'Woman in Blue Reading' a Letter by Johannes Vermeer,"
    in The Rijksmuseum Bulletin vol. 60, 2012, pp. 2-19.
  • de VREIS. A. B., Jan Vermeer van Delft, London / New York (2nd.ed.), 1948.
  • de WINKEL, Marieke, "The Interpretation of Dress in Vermeer's Paintings," in Vermeer Studies, ed. by Ivan Gaskell nd Michiel Jonker, National Gallery of Art Washington D.C., Yale University Press, New Haven, London 1998.
  • YDEMA, Onno, "Carpets and their Datings in Netherlandish Paintings," in Antique Collector's Club, Suffolk, 1991.
  • VANDVLIET, Kees, "Vermeer and the Significance of Cartography in Science," in The Scholarly World of Vermeer, Zwolle, 1996.
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