Related Artworks

The Lacemaker

c. 1669–1671
Oil on canvas (attached to panel)
24.5 x 21 cm.
Musée du Louvre, Paris

The artworks below constitute a succinct survey of the evolution of the narratives and composition schemes that can be in some manner be associated with Vermeer's The Lacemaker, before and after it was presumably created.

The individual artworks are arranged in chronological order. However, this order must be considered no more than approximate given that often times the dates of Vermeer's paintings and the related artworks listed herein bear no dates and thus are fruit of art historical speculation. Furthermore, although every effort was made to provide the most accurate title, author, date, technique, dimensions and whereabouts of each artwork, these should be researched thoroughly before drawing definitive conclusions, given that some of this information was derived from internet websites whose reliability cannot be guaranteed.

When an artwork's date was not found the painter's birth and dates are given between parentheses. When it was not possible to determine the current location of the art work, it is given as either "Whereabouts unknown" or "Private collection (?)"

In order to improve the quality of this survey readers are strongly encouraged to signal both new artworks and inaccuracies.

Click on the thumbnail images to access a higher resolution image.

from:
"Art: The Prodigious Story of Salvador Dalí, Johannes Vermeer, and the Rhinoceros"
Alex Kittle
Alex Kittle: art, film, and overenthsusiasm
January 29, 2014

After copying the Vermeer's Lacemaker in the Louvre, in April 1955 at the Vincennes Zoo in Paris, as Dalí reasoned that after painting in front of the actual Lacemaker and finding rhinoceros horns, the next logical step would be to paint in front of a live rhinoceros. Settled within a rocky alcove adjacent to the pen of a rhinoceros named Francis, he continued painting The Lacemaker, again with Descartes filming (here’s a snippet). His assistants dangled a large reproduction of the Vermeer in front of Francis, taunting it to charge but it backed down, perhaps intimidated by the wealth of pointed horns hidden within its printed aggressor. Eventually the artist ran through the reproduction himself with a large narwhal tusk. Over the next decade Dalai and Descartes would continue to work on their film, titled L’ prodigieuse de la Dentelliere et du rhinoceros (“The Prodigious Story of The Lacemaker and the Rhinoceros”), with Dalí wantonly experimenting with performance ideas (some culled from earlier projects) and engaging to varying degrees with The Lacemaker itself. One scene shows the artist whipping nine canvases with a riding crop, while another depicted him working on an abstracted Lacemaker while the Mayor of Cadaques (where filming had moved in 1956), dressed as Adolf Hitler, observed from behind a shrub while sipping tea. Though the film began as a documentary about Dalí’s interaction with Vermeer’s painting, it evolved into a massive, non-narrative, and disjointed project that was never completed.

Lace Making in Brugge