Ongoing and Upcoming Vermeer-Related Events
last update: October 10, 2022
last update: October 10, 2022
On this page are listed exhibitions, conferences, multimedia events and publications of the recent past which are related to the life and/or work of Johannes Vermeer.
Click here to see Vermeer-related events of the past.
Click here to view a sortable table of all past, ongoing and future Vermeer exhibitions.
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CODART provides a list of current, upcoming and past Flemish and Dutch related exhibitions, a newsletter and much more. https://www.codart.nl/guide/exhibitions/
EUROMUSE.NET is a public access portal giving accurate information on major exhibitions in European museums. Each museum's information is available in the native language and in English.
16 June 1940 - 22 November 2022
Dutch art historian and expert in 17th century Dutch painting and the art of Johannes Vermeer.
Albert Blankert was among the most authoritative modern Vermeer scholars and has written extensively both on Vermeer's art and Dutch painting. His influential, no-nonse volume Johannes Vermeer van Delft, 1632–1675 (1975 ) contained a critical catalog and an important chapter on Vermeer and His Public in which for the first time attention was drawn to a group of collectors of the seventeenth, eighteenth and early nineteenth centuries who viewed Vermeer not as much as a "sphinx" but as a "first class painter." His essay, "Vermeer's Modern Themes and Their Traditions" in the catalog of the 1995/1996 Washington D.C./The Hague Vermeer exhibition, remains one of the most lucid iconographical studies of Vermeer's painting.
In his 1976 volume he included 31 authentic works by Vermeer and rejected 4 works which were, and still are, largely accepted by authoritative experts of Dutch painting: Woman with a Lute, Girl interrupted in her Music, Girl with a Red Hat and Girl with a Flute. He excluded the Young Woman Seated at the Virginals (Leiden Collection, New York) and Saint Praxedis (National Museum of Western Art )from consideration.
I was never able to meet him personally but would like to remember him via an answer he gave in an interview that he kindly granted to the Essential Vermeer in 2005.
"We appreciate, like, admire, love Vermeer's work a very great deal. We want to express all this in words and find them insufficient, so we sing, jubilate, dance, scream, paint, drum, yes, similar to what we do for a loved one or for a god, what is the difference? Personally I find that we should observe utter restraint, but in how far is that a rational stance?"
February 10-June 4, 2023
open daily from 9:00 to 18:00
In early September, the Rijksmuseum is understood to have a promise of a loan of Vermeer’s Lacemaker for the retrospective exhibition starting in February next year, bringing to 28 the total number of Vermeer paintings that will be on display.
tickets (start time required):
Frick Collection, New York City
September 29, 2022 - January 15 , 2023
The Anniversary year concludes with a special exhibition: ten paintings from The Frick Collection in New York. This will be a one-time opportunity to view this selection of paintings in Europe, which (with one exception) left the continent more than a hundred years ago and have been in the United States ever since.
Of the ten paintings in the exhibition, Vermeer's Officer and Laughing Girl and Rembrandt’s 1658 Self-portrait will be the absolute highlights.
from CODART website:
The Frick Collection in association with DelMonico Books/D.A.P. New York
(hardcover, 7 1/4 x 9 3/4 in., 128 pages, 68 color illustrations)
Of the approximately thirty-four paintings attributed to Vermeer—whose extraordinary art has captivated viewers since his rediscovery in the nineteenth century—wall maps and other cartographic objects are depicted in nine of them, including The Frick Collection’s renowned Officer and Laughing Girl and the artist’s masterpiece in Vienna’s Kunsthistorisches Museum, The Art of Painting. With stunning reproductions and incisive text, the Frick’s new publication, Vermeer’s Maps, is the most comprehensive study of the artist's depiction of wall maps to date. Drawing on rare surviving examples of the physical maps and other primary sources, author Rozemarijn Landsman examines this intriguing aspect of Vermeer’s work, greatly enriching and expanding our understanding of the art and life of the "Sphinx of Delft."
As Landsman writes in the book’s introduction:
While scholars continue to remark on the prominence of maps in Vermeer’s art, these objects are rarely the center of attention. […] Questions about the maps in Vermeer’s paintings linger: What kinds of maps are they? How were they made? For whom were they produced? What were their functions? Above all, the questions of what maps meant for Vermeer and his art and what may have motivated him to choose these specific objects to adorn his painted walls remain to be addressed.
National Gallery of Art, Washington D. C.
October 8, 2022 – January 8, 2023
from the National Gallery website:
Only about 35 paintings by Johannes Vermeer are known today. The National Gallery owns four works by or attributed to this beloved 17th-century Dutch artist: Woman Holding a Balance, A Lady Writing, Girl with the Red Hat, and Girl with a Flute.
Friday, October 7, the Gallery announced that on the basis of new research done in the past two years the Girl with a Flute has been has definitively proven to be the product of someone likely close to Vermeer, but not the painter himself. The Gallery now believes that the work originated in the “studio of Vermeer,” which, however nothing is know about.
According to the Gallery:
The mystery artist who painted Girl with a Flute was familiar with Vermeer’s unique methods and materials, but unable to achieve his level of expertise. They may have been a pupil or apprentice in training, an amateur who paid Vermeer for lessons, a freelance painter hired on a project-by-project basis, or even a member of Vermeer’s family.
This exciting notion of a studio calls into question the long-held idea of Vermeer as a lone genius. On the contrary, he might have been a mentor and educator, training a future generation of artists
For decades, conservators, scientists, and curators at the National Gallery have conducted research into this quartet of paintings as well as two enigmatic works that are now considered to be 20th-century forgeries. Vermeer’s Secrets draws on 50 years of imaging technology and microscopic examination to illuminate—and sometimes revolutionize—our understanding of how Vermeer achieved the compelling effects of his paintings’ light-filled moments of quiet solitude.
The exhibition incorporates vivid technical images made using innovative technologies pioneered by two leaders in the field of scientific imaging, the National Gallery’s senior imaging scientist John K. Delaney and imaging scientist Kathryn A. Dooley. Using hyperspectral reflectance imaging techniques first developed to map minerals for remote sensing of the earth and subsequently the moon and Mars, as well as X-ray fluorescence imaging spectroscopy, Delaney and Dooley are able to identify and map pigments and also reveal what lies beneath the surface of a painting. While earlier technical examination (magnified examinations of the paintings, analysis of microsamples, and X-ray fluorescence spot analysis) allowed Melanie Gifford and Lisha Glinsman to hypothesize the stages in Vermeer’s working methods, these advancements in imaging technologies provided the opportunity to try and visualize those stages. The resulting images allowed the team to analyze the distribution of pigments across the paintings, distinguish compositional changes, and in the case of the Girl with the Red Hat, reveal more details about an earlier unfinished bust-length portrait of a man with a wide-brimmed hat.
The artist himself later painted over the objects. The most recent scans also uncovered what is clearly an underpainting, suggesting that the master worked much faster than previously assumed. These new findings follow a very recent announcement by the National Gallery of Art in which similar discoveries were made after technical examination of the Vermeer paintings in Washington.
The Art Newspaper
8 September 2022
from The Art Newspaper:
Scientific investigations of Vermeer’s The Milkmaid reveal what the Rijksmuseum describes as "startling discoveries." Advanced techniques have uncovered two objects in the picture which the artist later painted over. Research also throws fresh light on Vermeer’s technique: the assumption that he worked slowly and meticulously is now being questioned.
The Milkmaid, which was bought by Amsterdam’s Rijksmuseum in 1908, has long been among the museum’s most popular works.
Research on The Milkmaid has been undertaken in conjunction with what will be the largest Vermeer exhibition ever held, to be presented from 10 February to 4 June 2023. It will include 28 of the 35 accepted Vermeers.
An earlier retrospective at the National Gallery of Art in Washington, DC and the Mauritshuis in The Hague in 1995-96 included 23 paintings.
New Brushstroke Analysis Reveals Vermeer Was Not the Painstaking Perfectionist
Art Net News
August 16, 2022
from Art Net News:
For generations, art historians believed Johannes Vermeer was a perfectionist who worked very slowly—a theory supported by his precisely placed brush strokes and relatively limited career output. But in examining one of the painter’s masterpieces, researchers at the National Gallery of Art, Washington, D. C., found that may not have actually been the case.
Underneath Woman Holding a Balance, Vermeer’s classic canvas dated from around 1664, are layers of spontaneous brushstrokes, chemical imaging has exposed.
That is just one of the revelations at the heart of a new exhibition that foregrounds the work of conservationists, an effort to show viewers "what makes a Vermeer a Vermeer."
Dalí/Vermeer: A Dialogue
Meadows Museum, Dallas TX
October 16, 2022-January 15, 2023
from the Meadows Museum website:
Thanks to the generosity of the Fundació Gala-Salvador Dalí in Figueres, Spain, and the Rijksmuseum in Amsterdam, Dalí/Vermeer: A Dialogue, unites Johannes Vermeer’s Woman in Blue Reading a Letter (c. 1663) and Salvador Dalí’s interpretation thereof, The Image Disappears (1938), for the very first time.
A key part of any artist’s formal training has always been the study of their predecessors’ works, the imitation of which is seen as a crucial step in the development of one’s own style and technique. Dalí stands out as among the modern artists who most revered—indeed obsessed over—the painters that preceded him. The famed surrealist came of age just as earlier painters were being celebrated and publicized outside of their countries of origin, as was the case with the Dutch painter Vermeer, whose work he at first knew only through reproductions.
While a kind of Vermeerian iconography would come to pepper Dalí’s compositions throughout his career, less common are the instances in which the Surrealist painter reinterpreted whole compositions by Vermeer. Among these is The Image Disappears, Dalí’s interpretation of Vermeer’s Woman in Blue Reading a Letter. In The Image Disappears, whose title describes what the image does rather than what it depicts, Dalí takes the basic forms and elements of Vermeer’s composition—a woman wearing a blue night jacket, standing in profile reading a letter in front of an unseen window from which emanates soft light—and plays a visual trick on viewers, creating a second image of a mustachioed male face in profile that has been identified as that of Velázquez.
Not even Dalí would have seen these two paintings side-by-side; thus, the exhibition offers the unique opportunity to contemplate imitator and imitated within the context of the Meadows’s collection of Spanish art. The Meadows welcomes visitors to not only enjoy this rare moment to see a Vermeer in Texas, but to contemplate the broader question of imitation: is it flattery or conceit?
Additional works by Dalí from the Meadows’s collection, including works on paper, will be featured elsewhere in the museum and round out this fall’s celebration of the artist and his many evocations of art historical themes.
In this new paper, Hans Slager submits a hitherto unrecorded location where Vermeer may have created some of his paintings, based on visual evidence and events from his Catholic circle in Delft. Previously unconnected to Vermeer, Slager’s findings indicate that the artist may have painted in Rhoon castle, situated a few kilometers south of Rotterdam. He argues that the heraldic motif in two of Vermeer's paintings, The Glass of Wine (Berlin) and The Girl with a Wine Glass (Brunswick), is likely linked to the name Wendelnesse, a 14th century castle lady. A further inference is that a Delft Jesuit named Isaac van de Mije may have been Vermeer’s teacher. As so often in Vermeer-related studies nothing is ironclad, but Slager's scenario makes good sense and fills in various unknowns in Vermeer’s career.
click here to access PDF file of the paper
Vermeer’s Astronomer has been lent to the Louvre Abu Dhabi along with 59 other paintings of the Louvre Paris, perhaps for a year. No other information is currently available.
Major Vermeer Exhibition
February 10–June 4, 2023
The Rijksmuseum (Amsterdam) has just announced that in collaboration with the Mauritshuis (The Hague) it will stage the largest Vermeer exhibition ever. Until now, the most ambitious Vermeer exhibition was the 1995/1996 exhibit with 23 paintings in The Hague (21 in Washington). Taco Dibbits, the Rijksmuseum’s general director, expects to get 24 pictures by Vermeer—and hopefully a few more. Twenty-four paintings would already account for more than 2/3 of the artist's surviving output.
Due to the fragility of Vermeer's canvases coupled with the growing competition among museums for loans, Dibbits believes that a show, which on this scale is likely not to happen again, will provide a new generation of researchers and public a unique chance to study many of Vermeer's major works side by side.
For this exhibition, the Rijksmuseum is working closely with the Mauritshuis with a team of curators, restorers and natural scientists to examine in depth the seven paintings by Vermeer in Dutch possession. Works by Vermeer from other collections are also involved in this project.
In addition to the works owned by the two museums, which include The Milkmaid and Woman in Blue Reading a Letter, other confirmed major loans to the show include The Girl with a Pearl Earring (from Mauritshuis), The Geographer (Städel Museum, Frankfurt), Lady Writing a Letter with her Maid (National Gallery of Ireland), Woman Holding a Balance (National Gallery of Art, Washington D.C.), and Girl Reading a Letter at an Open Window (Gemäldegalerie Alte Meister, Dresden). Additions will be made public as they are gradually confirmed.
Museum Prinsenhof of Delft
February 10–June 4, 2023
Parallel to the Vermeer exhibition in the Rijksmuseum, Museum Prinsenhof of Delft will organize the exhibition Vermeer’s Delft (10 February to 4 June 2023). This will be the first-ever exhibition to explore in depth the cultural-historical context in which Vermeer's practice flourished. Never before has this been the starting point for an exhibition about this world-famous Delft master.
from the Museum Prinsenhof of Delft website:
The exhibition is structured around three main themes – Vermeer's personal life, the artistic climate in Delft and the socio-economic climate in the city. Each theme is introduced on the basis of a character that Vermeer actually knew. With masterpieces by Delft painters, Delft pottery, Delft carpets, archival documents and ego documents, the museum shows what Vermeer's life in Delft must have looked like and how the city influenced and shaped his work and life.
Janelle Moerman, director of Museum Prinsenhof Delft: “There are already many art historical exhibitions worldwide devoted to Vermeer's work, about the mystery surrounding his working process, his sources of inspiration and possible teachers. For the first time, the context in which he made his paintings is central to an exhibition. With Vermeer's Delft, we look specifically at Johannes Vermeer from a cultural-historical perspective. Nowhere can this story be told better than in Delft, the place where this Delft master was born and flourished.”