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Essential Vermeer 3.0
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Did Vermeer make mistakes? What is the Milkmaid preparing in her kitchen? Is the Girl with a Pearl Earring really a masterpiece and is her pearl a fake? Why did the artist's reputation vaporize so quickly after he died and why is he so famous today? What tricks and special colors did he use? Bolstered by his lifelong study of Vermeer and decades of experience as a professional painter, Jonathan Janson reveals Vermeer's life and art in human, down-to-earth terms.

For anyone interested in Vermeer the man and Vermeer's art, rather than his myth, 25 Things You Didn't Know about Vermeer offers rare glimpses into the artist's day-to-day experiences and struggles both inside and outside the confines of his studio.

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25 Things You (Probably) Didn't Know about Vermeer: Tricks, Troubles and Triumphs of a Great Dutch Master
Jonathan Janson
2021 | PDF | $6.95

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Dutch Painting

Girl with a Candle, Godfried Cornelisz. Schalcken
Girl with a Candle
Godfried Cornelisz. Schalcken
late 1660s
Pitti Gallery, Florence
Dutch Masterpieces

Various sources make it clear that the rise in the number of painters embarking on their career in Holland's major cities between roughly 1600 and 1630 was explosive. That both the quantity as well as the quality of their production reached unprecedented heights is evidenced by the multitude of paintings now hanging in our museums. The whys and wherefores of this astonishing phenomenon will always remain a point of discussion: countless factors, many of which defy description, may have played a role.

It must be understood that we are not alone in our present-day observation that something quite exceptional was transpiring in Dutch art of the seventeenth century. Contemporaries were also aware of the exceptional nature and quality of painting as well as the astounding growth in the production and collecting of the actual works of art. In this connection, the frequently quoted observations in the travel diaries of the Englishmen John Evelyn (1641) and Peter Mundy (1640) and the Frenchman Samuel Sorbière (1640) must be mentioned. Their comments regarding the vast amount of paintings they encountered everywhere in Dutch cities, and about which they wrote with sheer astonishment, must have become commonplace at the time. Quite likely a proud awareness of this phenomenon was already imbedded in the self-image of the prosperous Dutch burgher.v1

† FOOTNOTES †

  1. Eric Sluijter, vOn Brabant Rubbish, Economic Competition, Artistic Rivalry, and the Growth of the Market for Paintings in the First Decades of the Seventeenth Century"' JHNA I:2 (2009) www.jhna.org http://www.jhna.org/index.php/past-issues/volume-1-issue-2/109-on-brabant-rubbish

Click here for audio files pronunciation guide to Dutch Masters' names below.

Minor and Major Masters of the Golden Age of Dutch Painting

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