Vermeer-Related Events of the Past

Princess Beatrix and Prince Claus in the Mauritshuis at the opening of the exhibition In the Light of Vermeer -  Five Centuries of European Painting (The Mauritshuis - 25 June-5 September 1966)
The Hague 1966: Princess Beatrix and Prince Claus in the Mauritshuis at the opening of the exhibition In the Light of Vermeer -
Five Centuries of European Painting
(The Mauritshuis - 25 June-5 September 1966). The royal couple in the company of
Dr. Ab de Vries, director of the Mauritshuis.

On this page are listed exhibitions, conferences, multimedia events and recent publications of the recent past which are closely related to the life and work of Johannes Vermeer.

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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.


CODART provides a list of current, upcoming and past Flemish and Dutch related exhibitions, a newsletter and much more.

2016 - 2011


Vermeer's A Lady Writing visits Chrysler Museum for a limited engagement ongoing vermeer event

Chrysler Museum, Norfolk
November 1 – December 18, 2016

from the museum website:
For a limited six-week engagement Vermeer's A Lady Writing will be on display at the Chrysler Museum of Art. It is being lent to the Chrysler by the National Gallery of Art in Washington, D.C.

"The beguiling expression of the young lady is the result of Vermeer’s meticulous care in composition and pose," says Lloyd DeWitt, the Chrysler Museum’s Chief Curator and Irene Leache Curator of European Art. "Adorned in the fashionable style of the day—hair ribbons, pear-drop pearl earrings, and a fur-trimmed jacket—she meets our gaze with a slight smile while writing a letter" he says. "The nib of her quill pen is still on the paper.”

The painting will be on view in Gallery 202 of the Dalis Foundation Galleries.

admission: free.

related programs:
Special Vermeer Lecture
by Arthur K. Wheelock, Jr.
Sunday, November 20 | 2 p.m. | Kaufman Theater | Free
Revel in the beauty of Johannes Vermeer’s A Lady Writing, one of only 35 works by the venerable 17th-century Dutch painter. Arthur K. Wheelock, Jr., Curator of Northern Baroque Paintings at the National Gallery of Art, guides you through the old master’s work in this very special Kaufman Theater lecture. Seating is limited.

Vermeer Gallery Talk
by Chief Curator Lloyd DeWitt
Thursday, December 8 | 2 p.m. | free
Look deeper into the subjects and the psyches in Johannes Vermeer’s paintings in this very special gallery talk by our resident expert in 17th-century Dutch art, Lloyd DeWitt. Meet at the Welcome Desk in Huber Court.

Vermeer's Geographer visits the Hermitage

Johannes Vermeer: The Geographer. From the Städelsches Kunstinstitut (Frankfurt am Main)
Masterpieces from the World’s Museums in the Hermitage

Hermitage, St. Petersburg (Main Museum Complex, Hall of the School of Rembrandt\)
August 27 - November 20, 2016

After The Love Letter in 2010, Vermeer's Geographer will be be on temporary loan at the Hermitage.

from Hermitage press release:
When speaking of the history of Vermeer's remarkable picture, which over the course of the centuries changed hands on multiple occasions and spent time in several European countries, mention must be made of one intriguing, albeit brief “Russian” episode. The memory of it is preserved by an oval stamp inscribed "GALERIE DE SAN DONATO" on the back of the canvas, and a half-erased mark made with sealing-wax on the stretcher. Also attached to the back of the painting is a sheet of paper carrying a detailed list of the collections through which it passed between 1713 and 1872. Around 1877, The Geographer was bought in Paris by the Russian businessman and art patron Pavel Pavlovich Demidov (1839–1885). After inheriting the famous Villa San Donato outside Florence from his uncle, he settled in Italy. There the connoisseur enlarged through his own purchases the art collections assembled by several generations of Demidovs. Soon, though, as early as 1880, Pavel Pavlovich decided to sell the villa and its treasures and to move to a new estate, Pratolino. On 15 March 1880, a tremendous auction began at San Donato that went on for several days. The Vermeer was Lot 1124 in the auction catalogue.

The exhibition has been curated by Irina Alexeyevna Sokolova, Doctor of Culturology, Keeper of Dutch Painting and Chief Researcher in the Department of Western European Art. Sokolova is the author of The Russian Passion for Dutch Painting of the Golden Age. The Collection of Pyotr Semenov and the Art Market in St Petersburg, 1860-1910 comes out in the Netherlands (2015)

A scholarly publication in Russian only, Johannes Vermeer: The Geographer (State Hermitage Publishing House, 2016) has been produced for the exhibition. The text is by Irina Sokolova.

Young Woman Seated at a Virginal, attributed to Johannes Vermeer

Young Woman Seated at a Virginal travels to Dallas

Vermeer Suite: Music in 17th-Century Dutch Painting
January 17 - August 21, 2016

from the museum website:
The Dallas Museum of Art presents Vermeer Suite: Music in 17th-Century Dutch Painting, an exhibition organized by the DMA showcasing paintings from the prestigious Leiden Collection of New York, including a work by Johannes Vermeer. The great 17th-century Dutch painter created fewer than forty paintings during his lifetime, and Young Woman Seated at a Virginal from 1670–72 is believed to be one of Vermeer’s last. This masterpiece is the inspiration for the DMA exhibition Vermeer Suite: Music in 17th-Century Dutch Painting, which includes seven additional loans from The Leiden Collection of works by Vermeer’s contemporaries—artists Jan Steen, Gerard ter Borch, Jacob Adriaensz Ochtervelt, Eglon van der Neer, Gerard Dou, and Frans van Mieris—whose paintings also portray musicians performing period instruments such as the lute, violin, and violincello and demonstrate key aspects of 17th-century musical culture.

entrance: free of charge

Lacemaker and Astronomer at the Louvre

Two Louvre Vermeers not on display

The Northern European rooms of the Louvre are currently under renovation until February 17, 2017, so neither of the museum's Vermeer , Astronomer and Lacemaker, are on display.

As of yet, the Louvre has not been announced where or when either of the pictures will be available for public viewing.

Prinsenhof Delft Museum'

Vermeer's Little Street returns to Delft

Vermeer is Coming Home
Museum Prinsenhof Delft
March 25 - July 17, 2016

from the museum website:
The Little Street returns to Delft describes the long search to identify the place that inspired Vermeer to paint his masterpiece. It deals with a number of theories (see alternative proposal by Philip Steadman), but specifically explainsrecent research by professor Frans Grijzenhout into the location of The Little Street.

The exhibition is accompanied by a programme full of activities in the city centre of Delft and in Museum Prinsenhof Delft.

Interactive city tour - (App)
The exhibition is accompanied by a smartphone and tablet app that takes visitors independently past some twenty locations that have a link with Vermeer's life and work. They are all in the immediate vicinity of Museum Prinsenhof Delft. The ‘Where is Vermeer?’ app is suitable for iOS and Android and can be downloaded for free of charge after the opening.

Escape room Vermeer's Workshop
In an escape room designed especially for the exhibition, small groups of visitors visit Vermeer's studio. They then need to try and exit the room in a short period of time by solving puzzles and riddles.

Master Class Vermeer in pieces (Dutch)
The archives of Delft contain various historical documents that can provide a better picture of the mysterious Johannes Vermeer. The Public Archivist takes a close look at these documents together with participants on 22 April and 24 June. For more information or to sign up, send an e-mail.

Guided tour
Every other week there is a brief guided tour on Sunday afternoons where visitors obtain an overall view of The Little Street exhibition.

Opera Writing to Vermeer
On 9 en 10 July a film of the opera ‘Writing to Vermeer’ (1999) by Louis Andriessen will be shown in de Van der Mandelezaal of Museum Prinsenhof Delft. Theme of the opera: the women around Vermeer and the letters they wrote to him. Filmmaker Andriessen provides the audience with an explanation and Marije van Stralen (soprano) en Bas de Vroome (harpsichord) perform parts of the opera live on stage.

City programme
In the city center, Delft’s entrepreneurs and other cultural institutions organize lots of activities around Vermeer and The Little Street. Visit for more information.

Mondays to Sundays - 11.00-17.00 hours.

El luthier de Delft: Música, pintura y ciencia en tiempos de Vermeer y Spinoza

Vermeer-related publication (Spanish)new logo

El luthier de Delft: Música, pintura y ciencia en tiempos de Vermeer y Spinoza (Spanish)
by Ramón Andrés, 2015

from the publisher's website:
El luthier de Delft es una obra que analiza la música (aunque también el arte y la ciencia) del siglo XVII, especialmente centrada en la cultura neerlandesa. El libro gira en torno a tres personajes centrales, el pintor Jan Vermeer, el filósofo Baruch Spinoza y el músico Jan Pietrszoon Sweelinck. A partir de ellos, el lector se encontrará con la construcción de instrumentos musicales, sus maderas y barnices, así como con el papel de la mujer en el arte y la música; la vida de los pintores y el mundo simbólico de sus obras y los estudios científicos destinados a la óptica y la difusión del telescopio. Un libro lleno de resonancias y armonías, sabiduría y sutileza.

(The luthier of Delft is a work that analyzes the music (but also art and science) of the seventeenth century, especially focusing on Dutch culture. The book revolves around three central characters, the painter Johannes Vermeer, the philosopher Baruch Spinoza and musician Jan Sweelinck Pietrszoon. From them, the reader will discover the construction of musical instruments, their woods and varnishes, as well as the role of women in art and music; the lives of the painters and the symbolic world of his works and scientific studies for the optical telescope and dissemination. A book full of resonances and harmonies, wisdom and subtlety.)

Ramon Andrés is a celebrated spanish musicologist and essay-writer.

A Lady Writing, by Johannes Vermeer

Vermeer's A Lady Writing travels to Kansas City ongoing vermeer event

Reflecting Class in the Age of Rembrandt and Vermeer
The Nelson-Atkins Museum of Art, Kansas City
February 24 - May 29, 2016

from the musuem website:
This groundbreaking exhibition examines 17th-century Dutch paintings in light of the new Republic’s social structure. Although the Dutch Republic was relatively democratic at the time, class distinctions remained and conveyed a variety of meanings to its citizens.

Through approximately 71 carefully selected and arranged paintings, this exhibition will present the ways in which Dutch pictures reflect various socio-economic groups. Additionally, three place settings featuring the everyday tableware of the upper, middle, and lower classes will bring to life the tangible differences within the Republic’s stratified population.

By exploring how class distinctions were expressed and the associations each group held, a more nuanced picture of Dutch society will emerge. Highlights of the exhibition include Vermeer’s A Lady Writing and portraits by Rembrandt and Hals.

This exhibition was organized by the Museum of Fine Arts, Boston.

admission prices:
members and children under 12: Free
adults: $12
seniors over 55: $10
students with ID: $6

Exhibition Programs

Reflecting On…
6–7 p.m. | Atkins Auditorium
Tickets Required

February 25 | Reflecting On the Power of Dutch Maps and Landscapes
March 31 | Reflecting On 17th- and 18th- Century Dutch Design in the Global Marketplace
April 28 | Reflecting On 17th-Century Dutch Influence in American Scenes of Everyday Life
May 26 | Reflecting On Poverty in Early 20th-Century American Photography

Four curators reflect on themes presented in the exhibition, including the importance and legacy of 17th-century Dutch painting and depictions of the social classes in art. Works from across art-historical periods and museum collections will be discussed.

Rank and Status in the Dutch Golden Age
Thursday, March 24
6–7 p.m. | Atkins Auditorium
Tickets required

Join exhibition curator Ronni Baer, William and Ann Elfers Senior Curator of Paintings, Art of Europe, Museum of Fine Arts, Boston, for a lecture that encourages close looking at portraits, genre scenes, landscapes and seascapes to discover clues to the social standing of the people depicted and the workings of the 17th-century Dutch Republic.

Musical Distinctions Inspired by Rembrandt & Vermeer
Friday, March 18
6:30 p.m.–7:30 p.m. | Atkins Auditorium
Tickets required

Distinguished faculty and students from the UMKC Conservatory of Music and Dance and The Sacred Arts Chorale from Central Theological Society present a program of popular Baroque music from the 1600s.

Crossfire Talks: The Social Classes in Dutch Art
Sundays, 2 p.m. | Exhibition Galleries
Exhibition ticket required

March 20 | The Upper Classes in Dutch Art
April 17 | The Middle Classes in Dutch Art
May 15 | The Lower Classes in Dutch Art

Three short talks explore class distinctions expressed in Dutch paintings and table settings featured in the exhibition. Join Catherine Futter, Director of Curatorial Affairs, and Rima Girnius, Associate Curator of European Painting and Sculpture, and return for all three talks.

Exhibition Tours
February 24–May 29
Exhibition ticket required.
Docent-led tours 1 p.m. Wed.–Fri. | No reservations required.

Vermeer in Japan

Vermeer's Woman Holding a Water Pitcher on tour in Japan

Vermeer and Rembrandt: the Masters of the 17th Century Dutch Golden Age
6-10-1 Roppongi | 52 fields Mori Tower Roppongi Hills, Minato 106-6151, Tokyo Prefecture
Feb.-March 31, 2016

from exhibition web page:
The Dutch Golden Age of Dutch history spanned the 17th century, and it was during this period that the Netherlands underwent great development. In the field of painting, a great many excellent painters produced numerous splendid masterpieces. They include well-known painters such as the painter of light, Johannes Vermeer (1632-1675) from Delft, as well as Rembrandt Harmenszoon van Rijn (1606-1669) famed in Amsterdam, and then more widely for his unique ideas, techniques and composition. Their paintings remain still colorful and vivid even after 400 years, leaving the viewer with a powerful impression.
This exhibition introduces the Dutch Golden Age and painters of the era through around 60 artworks. The highlights include Young Woman with a Water Pitcher by Vermeer and Bellona by Rembrandt; both presented to the public for the first time in Japan.

venue two: ongoing vermeer event
Fukushima Prefectural Museum
Fukushima City
April 6 - May 8, 2016


authors: Giltaij, Jeroen (editor); Wieseman, Betsy (texts); Dibbits, Taco (texts); Wheelock,
Arthur K. (jr.) (texts); Ozaki, Masato (texts)

publisher: Tokyo : Tokyo Broadcasting System Television, 2015

"Dutch painters cut from the same canvas"
by C.B. Liddell
The Japan Times

Little Street, Johannes Vermeer

Exact location of Vermeer's Little Street finally discovered?

Janene Pieters, "Mystery of world-famous Vermeer setting finally solved"
Nov. 19, 2015

The century-old mystery of the exact location of Johannes Vermeer’s painting Little Street, has finally been solved. The setting for the world-famous painting is on Vlamingstraat in Delft, where houses 40-42 now stand.

This extraordinary revelation was made by Dr. Frans Grijzenhout, professor of Art History at the University of Amsterdam, the Rijksmuseum announced on Thursday.

Grijzenhout searched 17th-century records in the Delft archives and found the conclusive answer in The file of the deep waters within the city of Delft from 1667, also called the Register of the quayside fee. This register kept record of how much tax everyone who owned a house on a canal in Delft had to pay for the deepening of the canal and for maintenance of the wharf in front of his door. It contains detailed, accurate up to 15 cm, information on the breath of all the houses and ports on the Delft canals in Vermeer’s time.

The two houses that then stood on Vlamingstraat where numbers 40-42 are now located, completely correspond with the Little Street. No other houses from Vermeer’s time correspond so exactly.

The research also revealed that Vermeer’s aunt—the widow Ariaentgen Claes van der Minne, Vermeer’s father’s half-sister —lived in the house on the right side of the painting. Vermeer’s mother and sister lived on the same canal, diagonally across the street. According to the Rijksmuseum, it is therefore likely that Vermeer knew the house well and had personal memories linked to it.

“The answer to the question of where Vermeer’s Little Street is located, is of great significance and will have profound consequences, bot for the way we look at this one painting by Vermeer as well as for the image we have of Vermeer as an artist”, said Pieter Roelofs, curator of 17th-century paintings at the Rijksmuseum.

To celebrate theLittle Street's address being found, the Rijksmuseum is dedicating an exhibition to the discovery. The exhibition will be in the Rijksmuseum between November 20th of this year and March 13th, 2016.

from the Rijksmuseum website:

The houses now on the site were built in the last quarter of the nineteenth century. The only aspect that can still be recognized as it appears in The Little Street is the striking gate and passageway on the right. The investigation also revealed that the house on the right in The Little Street belonged to Vermeer’s widowed aunt, Ariaentgen Claes van der Minne, his father’s half-sister. She earned her living and provided for her five children by selling tripe, and the passageway beside the house was known as the Penspoort—Tripe Gate. We also know that Vermeer’s mother and sister lived on the same canal, diagonally opposite.

see also:
Rijksmuseum presentation:

Rijksmuseum Press Release (higi-resolution images of Vermeer's Little Street and Vlamingstraat, Delft)

Martin Bailey, "Exact location of Vermeer’s Little Street discovered"
The Art Newspaper, November 20, 2015

Brian Boucher, "Has the Site of Johannes Vermeer's ‘Little Street' Been Identified?"
Art News, Monday, November 23, 2015

Google Art Project presentation:

A special exhibition about the newly found location of Vermeer's Little Street will be held in two venues:

Little Street, Johannes VermeerCover of Rijksmuseum publication

Rijksmuseum, Amsterdam
20 November 2015-13 March 2016

Stedelijk Museum Het Prinsenhof, Delft
25 March-17 July 2016

Patrick van Mil, Director of Museum Prinsenhof Delft, says "This offers the opportunity to put Delft on the map as the Vermeer City. With new routes through the city, a special virtual reality App, Vermeer packages etc. We bring the Vermeer of Delft for the visitors to life. To achieve this we are looking for cooperation with various parties such as the Oude Kerk, the Vermeer Centre, TU Delft, Delft Marketing and business. Together we can develop an attractive program whereby Delft would again be dominated by Johannes Vermeer and 'The Little Street', Delft, Vermeer and Vermeer's Delft!"

Saint Praxedsi, attributed to Johannes Vermeer

Early Vermeer(?) exhibited in Tokyo

The National Museum of Western Art, Tokyo
from March 17, 2015

The Saint Praxedis, which is believed by some scholars to be an authentic early work by Vermeer will be on public display for the first time since it was auctioned by Christie’s on July 8, 2014 for $10,687,160 (£6,242,500). The painting, exhibited as "attributed to Vermeer," in the Permanent Collection Galleries (Main Building, 2nd Floor).

In the Eye of the Beholder, by Laura J. Synder

Vermeer-related publication

Mar 16, 2015
by Laura J. Snyder

from the publisher's website:
In Eye of the Beholder, Laura J. Snyder transports us to the streets, inns, and guildhalls of seventeenth-century Holland, where artists and scientists gathered, and to their studios and laboratories, where they mixed paints and prepared canvases, ground and polished lenses, examined and dissected insects and other animals, and invented the modern notion of seeing. With charm and narrative flair Snyder brings Vermeer and Van Leeuwenhoek—and the men and women around them—vividly to life. The story of these two geniuses and the transformation they engendered shows us why we see the world—and our place within it—as we do today.

also available at


"Rich and Rewarding" — Graeme Wood, The American Scholar

"It is clear that Snyder is out of her depth in much of the perspective and optics that she discusses. She gives a rather abbreviated account of the experiments made with cameras by art historians and fails to pinpoint properly what exactly it was that led them and numerous others to suspect Vermeer of using the camera in the first place. She rejects out of hand my own theoretical and experimental work. And she makes no mention of Tim Jenison’s very remarkable experiment, which proves beyond doubt the feasibility of painting in colour and in meticulous minute detail with a camera obscura. Indeed all the exciting work that has been happening on these questions over the last fifteen years is absent from Snyder’s account. This is work in progress, there are many matters of debate and uncertainty, and much remains to be investigated and discovered. But what an opportunity has been missed here!"—Philip Steadman (author of Vermeer's Camera: Uncovering the Truth behind the Masterpieces, 2001 ) Amazon Customer Review

"Laura Snyder is both a masterly scholar and a powerful storyteller. In Eye of the Beholder, she transports us to the wonder-age of seventeenth-century Holland, as new discoveries in optics were shaping the two great geniuses of Delft—Vermeer and van Leeuwenhoek—and changing the course of art and science forever. A fabulous book."
—Oliver Sacks

Jonathan Lopez, The Wall Street Journal Online

"Eye of the Beholder is a thoughtful elaboration of the modern notion of seeing. Laura J. Snyder delves into the seventeenth century fascination with the tools of art and science, and shows how they came together to help us make sense of what is right in front of our eyes."
Russell Shorto, author of Amsterdam: A History of the World's Most Liberal City

Masters of the Everyday: Dutch Artists in the Age of Vermeer. An exhibition from the British Royal Collection

Vermeer's Music Lesson exhibited in London, Edinburgh and Netherlands

venue one:

Masters of the Everyday: Dutch Artists in the Age of Vermeer. An exhibition from the British Royal Collection
The Queen's Gallery, Buckingham Palace
November 13, 2015 - February 14, 2016

all information below from the Royal Collection website:
The Dutch artists of the 17th century painted ordinary people doing everyday things. They offer us a glimpse into the rumbustious life of village taverns and peasant cottages, and the quiet domesticity of courtyards and parlours. While the subject­-matter may be ordinary—the preparation of food, eating and drinking, the enjoyment of music or a family game—the painting is rich and jewel-like, with equal attention paid to a discarded clay pipe as to a fine silk drape. The meticulously documented details often allude to a work's deeper meaning or to moral messages that would have been familiar to the contemporary viewer.

Presenting 27 masterpieces from the Royal Collection, the exhibition includes works by Gerrit Dou, Gabriel Metsu, Jan Steen and Pieter de Hooch, and Johannes Vermeer's Music Lesson (A Lady at the Virginal with a Gentleman).

opening times:
opens daily, 10:00-17:30
last admission 16:15

admission prices:
adult £10.00
concessions £9.20
under 17/disabled £5.20
under 5 free

For more details please see Royal Collection ticket pages.

Related Activities

Exhibition Talk for groups - Masters of the Everyday
Thursday, 12 November 2015 to Thursday, 11 February 2016

To enhance your group visit to Masters of the Everyday: Dutch Artists in the Age of Vermeer, book an exclusive introductory talk by a Royal Collection Trust expert in the Gallery's Redgrave Room. After your 30-minute talk in English, your group is free to enjoy the exhibition at leisure using a complimentary audio tour. Please note Exhibition Talks are for pre-booked groups only.

duration: 1 hour 30 minutes - 2 hours
time: 11:00
price: adult £18.80 - over 60/student (with valid ID) £16.90 - under 17/disabled £9.30
minimum: 25
maximum: 80
location: The Queen's Gallery, Buckingham Palace
essential information: Exhibition Talks can be booked on Tuesday and Thursday at 11:00.

ticket booking:

Private Evening View for groups - Masters of the Everyday

Monday, 16 November 2015 - Thursday, 11 February 2016

Private Evening Views can be arranged for groups to explore Masters of the Everyday: Dutch Artists in the Age of Vermeer at The Queen's Gallery, Buckingham Palace. This exclusive after-hours event offers groups the opportunity to enjoy the exhibition without the crowds. The evening concludes with a glass of wine served in the Gallery Shop. Groups may bring their own guide to interpret the exhibitions or simply explore them at leisure. Price includes a Private Evening View and a glass of wine in the Gallery Shop.

Please be aware, Private Evening Views are only available for pre-booked groups.

duration: 1 hour
time: 18:30 - 19:30
price: £35.00 per person
minimum number: 50 or booking value £1,750.
maximum number: 150.
location: The Queen's Gallery, Buckingham Palace
essential information: Private Evening Views can be booked on Monday, Wednesday and Thursday at 18:30 during exhibitions. Please be aware the £2.00 telephone booking transaction fee is not payable on this group visit.
contact: +44 (0)20 7766 7321

Masters of the Everyday: Dutch Artists in the Age of Vermeer
Desmond Shawe-Taylor and Quentin Buvelot
Hardback, 176 pages, 289 x 233 mm, over 150 colour illustrations

During the seventeenth century, Dutch artists were unparalleled in their dedication to depicting ordinary people doing everyday things. Genre painting was the pre-eminent expression of this dedication, offering candid glimpses into the peasant cottages and village courtyards of the Dutch Golden Age, each painting lit with the period’s vibrant color palette and rich with radiant natural light.

This superb collection focuses on a selection of works of Dutch genre painting from the Royal Collection’s holdings. Johannes Vermeer, Jan Steen, Gerrit Dou, Gabriel Metsu, and Pieter de Hooch are among the masters whose works are finely reproduced here. While the subject matter may be ordinary—the preparation of food, the bustle of a busy market, the enjoyment of taverns and town festivities—the meticulously documented details often allude to a work’s deeper meaning, that would have been familiar to the contemporary viewer.

The book explores these hidden moral messages, as well as the artist’s penchant for clever visual puns.

aslo available at

Desmond Shawe-Taylor is Surveyor of The Queen’s Pictures, Royal Collection Trust. His previous publications include Dutch Landscapes (2010) and most recently The First Georgians: Art & Monarchy 1714–1760 (2014).

Quentin Buvelot is Senior Curator at the Mauritshuis. His recent publications include Dutch Portraits: The Age of Rembrandt and Frans Hals (2007) and Jacob van Ruisdael Paints Bentheim (2009).

venue two:

Edinburgh The Queen's Gallery, Palace of Holyroodhouse                 
March 4 - July 24, 2016

venue two:

The Mauritshuis, The Hague
September 29, 2016 - January 8, 2017

Travels in Vermeer: A Memoir, Michael White

Vermeer-related publication makes National Book Awards longlist

Travels in Vermeer: A Memoir
by Michael White

Michael Whites's Travels in Vermeer: A Memoir made the National Book Awards longlist for Nonfiction. Finalists will be announced on October 14th, and winners will be announced at a ceremony in New York on November 18th.

from publisher's website:
A lyrical and intimate account of how a poet, in the midst of a bad divorce, finds consolation and grace through viewing the paintings of Vermeer, in six world cities. In the midst of a divorce (in which the custody of his young daughter is at stake) and over the course of a year, the poet Michael White, travels to Amsterdam, The Hague, Delft, London, Washington, and New York to view the paintings of Johannes Vermeer, an artist obsessed with romance and the inner life.  He is astounded by how consoling it is to look closely at Vermeer’s women, at the artist’s relationship to his subjects, and at how composition reflects back to the viewer such deep feeling. Includes the author’s very personal study of Vermeer. Through these travels and his encounters with Vermeer’s radiant vision, White finds grace and personal transformation.

"White brings [sensitivity] to his luminous readings of the paintings.  An enchanting book about the transformative power of art."
—Kirkus Reviews) 

"… Figures it took a poet to get it this beautifully, thrillingly right.” - (
— Peter Trachtenberg

"A unique dance among genres...clear and powerful descriptions touch on the mysteries of seduction, loss, and the artistic impulse."
— Clyde Edgerton

about the author:
Michael White is the author of four award-winning collections of poetry. He lives in Wilmington, North Carolina, and heads the creative writing department at UNC-Wilmington.

See also the companion volume, MIchael White's Vermeer in Hell, winner of Persea's Lexi Rudnitsky / Editor's Choice Award.

Original Trade Paperback / $17.95 (Can $20.95) / ISBN 978-0-89255-437-9 / 192 pages / Memoir, Literature, Art History

Christ in the Hosue of MArtha and Mary, Johannes Vermeer

Vermeer's Christ in the House of Martha and Mary goes in Australia

Vermeer's Christ in the House of Martha and Mary will form part of a touring exhibition of America and Australia and will return to the Scottish National Gallery in February of 2016.

The Greats: Masterpieces from the National Galleries of Scotland
The Art Gallery of New South Wales, Sydney, Australia
October 24, 2015 - February 14, 2016

The Geographer, Johannes Vermeer

Two Vermeer's exhibited in special Frankfurt anniversary exhibition

Masterworks in Dialogue. Eminent Guests for the Anniversary
7 October 2015 - 24 January 2016
Städel Museum, Frankfurt am Main

from the museum website:
The Städel collection looks forward to welcoming a number of international visitors on the occasion of its bicentennial. A show that has been conceived by all the Städel’s curators together will confront key works of the institution’s own holdings with masterpieces from the most renowned museums over the world.

The approximately 40 encounters of important anniversary guests with works from the Städel’s collection will not only yield insights into exciting and sometimes surprising art-historical and historical connections but also unfold a background for reassessing the Städel’s own holdings.

Among the paintings exhibited will be Vermeer's Geographer and Lady Writing a Letter with her Maid will be exhibited.

Class Distinctions: Dutch Painting in the Age of Rembrandt and Vermeer

Vermeer-related exhibition in Boston

Class Distinctions: Dutch Painting in the Age of Rembrandt and Vermeer
October 11, 2015 – January 18, 2016
Museum of Fine Art, Boston
Ann and Graham Gund Gallery (Gallery LG31)

from the CODART website:
Organized by the MFA, this groundbreaking exhibition proposes a new approach to the understanding of 17th-century Dutch painting. Included are 75 carefully selected and beautifully preserved portraits, genre scenes, landscapes and seascapes borrowed from European and American public and private collections—including masterpieces never before seen in the US. The show will reflect, for the first time, the ways in which art signals the socioeconomic groups of the new Dutch Republic, from the Princes of Orange to the most indigent of citizens. Class distinctions had meaning and were expressed in the type of work depicted (or the lack thereof), the costumes, a figure’s comportment and behavior, or his physical environment. Arranged according to 17th-century ideas about social stratification, paintings by artists such as Rembrandt, Vermeer, Jan Steen, Pieter de Hooch, Gerard ter Borch and Gabriel Metsu, will be divided into three classes—upper, middle and lower—and further sub-divided into eight categories. A final section will explore the places where the classes in Dutch society met one another. Additionally, 45 works of decorative arts—objects used by each class but diverging in material and decoration (for example, salt cellars, candlesticks, mustard pots, linens)—will be installed in three table settings to highlight material differences among the classes. The accompanying publication features essays by a team of distinguished Dutch scholars and exhibition curator Ronni Baer, the MFA’s William and Ann Elfers Senior Curator of Paintings.

tickets information:
To order tickets by phone, call 1-800-440-6975; to order in person, visit any MFA ticket desk. Tickets must be purchased prior to the start of the first session; individual sessions are not available.

Class Distinctions: Dutch Painting in the Age of Rembrandt and Vermeer
Ronni Baer, with essays by Henk van Nierop, Herman Roodenburg, Eric Jan Sluijter, Marieke de Winkel, and Sanny de Zoete


about the curator:
from Dutch Culture USA website:
A specialist in 17th-century Dutch and Flemish art, Dr. Ronni Baer joined the MFA in 2000 as Senior Curator of Paintings in the Art of Europe Department. Prior to arriving in Boston, she held positions as curator, professor and researcher at numerous museums and higher learning institutions. Baer has overseen the installation of several European galleries in the Museum and was curator of the exhibitions El Greco to Velázquez: Art during the Reign of Philip III (2008), Rembrandt's Journey: Painter | Draftsman | Etcher (co-curated with Cliff Ackley, 2004) and The Poetry of Everyday Life: Dutch Painting in Boston (2002). She was also responsible for the traveling exhibitions, Still Life from the MFA, Boston: Tradition and Innovation (2011, Nagoya/Boston Museum of Fine Arts), Five Centuries of European Portraiture (2006, Nagoya/Boston Museum of Fine Arts) and Gerrit Dou (1613-1675): Master Painter in the Age of Rembrandt’ (2000), National Gallery of Art, Washington, DC).

Baer completed her Master’s and Ph.D. in art history at the Institute of Fine Arts at New York University, following her undergraduate work in French literature at Emory University (Atlanta). Baer was awarded a Getty Research Institute Guest Museum Scholarship in 2013 and received the Encomienda de la Orden de Isabel la Católica from King Juan Carlos I of Spain in 2008. In addition to authoring the catalogues for the exhibitions above, she is author and editor of the catalogue for the upcoming show, Class Distinctions: Dutch Painting in the Age of Rembrandt and Vermeer.

Vermeer and Painters of the Dutch Golden Age

Vermeer's Woman Holding a Water Pitcher on Tour

Vermeer and Painters of the Dutch Golden Age
October 24, 2015 - January 5, 2016
Kyoto Municipal Museum of Art, Kyoto

from exhibition web page:
Seventeenth-century Holland’s withdrawal from religious painting to an emphasis on the appreciation of the everyday opened up a new worldview. It was not only the images of women, wives and their husbands, it was also the mothers within the interior settings and the masters of the kitchens that were painted. Furthermore, it was the fashions that colored lives in feminine cultivation and religious practices that resulted in painted works. These were the opening acts of the “world theater” of women’s entry onto the world stage. Vermeer’s Woman Holding a Water Pitcher and Rembrandt’s Verona are the highlights of this Japan premier.

Vermeer's Woman Holding a Water Pitcher will return in Spring 2016 to the Metropolitan after two other venues in Japan.

Woman in Blue Reading a Letter by Johannes Vermeer

Vermeer's Woman in Blue Reading a Letter travels to Washington D. C.

Vermeer's Woman in Blue Reading a Letter from the Rijksmuseum
September 19 – December 1, 2015
National Gallery of Art, Washington D. C.
West Building, Main Floor - Gallery 50C

from the National Gallery of Art website:
In celebration of the 20th anniversary of the Gallery's history-making exhibition Johannes Vermeer (1995–1996), the Rijksmuseum in Amsterdam is lending one of its great treasures: Vermeer's Woman in Blue Reading a Letter.. Last seen in Washington in 1996, this luminous masterpiece has been recently restored and will hang in the Gallery's Dutch and Flemish Cabinet Galleries alongside other works by Vermeer in the permanent collection, including Girl with the Red Hat.

Related Activities

The Vermeer Phenomenon
November 15, 2:00–3:30 p.m.
East Building Auditorium
Maygene Daniels (chief of Gallery Archives), Arthur Wheelock (curator of northern baroque paintings), and Deborah Ziska (chief of press and public information) give a lecture about the Vermeer exhibition's origins, importance, popularity, and impact.

gallery talk:
Woman in Blue Reading a Letter by Johannes Vermeer
September 24–28, 30, 12:00 p.m.
October 8, 21–23, 27–29, 2:00 p.m.
West Building, Main Floor, Rotunda
Diane Arkin or Eric Denker (30 mins.)

Timken Museum of Art, San Diego

Vermeer's Woman in Blue Reading a Letter travels to San Diego

The Private World of Vermeer
The Timken Museum, San Diego CA
May 14 - Sept. 11, 2015

The Timken Museum of Art will exhibit one of the finest works by Vermeer from May 14 through Sept. 11, 2015. The exhibition, The Private World of Vermeer, showcases his masterpiece, Woman in Blue Reading a Letter. This generous loan from the Rijksmuseum in Amsterdam marks the first appearance of this remarkable painting in San Diego. The Timken's special installation allows visitors to have an intimate experience with Woman in Blue Reading a Letter and highlights one of the most celebrated painters of the Dutch Golden Age.

The four-month exhibition also features a variety of events, which include noted scholars on Vermeer. Many of the events are free to the public and are designed to give guests an enhanced understanding of the Vermeer and other masterpieces in the Timken’s collection:

1. Guest Lecture

"Extraordinary Observation: Vermeer's Woman in Blue"
speaker: Anne Woollett (curator, department of paintings, J. Paul Getty Museum)
Monday, May 18 at 10 a.m.
admission: free

In its compositional refinement and visual impact,  Woman in Blue Reading a Letter  represents a turning point in Vermeer’s career. This lecture considers Vermeer's signature approach—its rapid development in previous works, and the sophisticated handling of space and light in this work and the so-called "pearl pictures."

Anne Woollett is Curator of Paintings at the J. Paul Getty Museum, Los
Angeles. She specializes in northern European painting before 1800,
and is currently working on a catalogue of the Getty's Flemish Baroque

2. Art in the Evening Lecture and Reception

speaker: Arthur K. Wheelock (curator of Northern Baroque painting, National Gallery of Art)
Wednesday, June 3
admission: $35 member / $45 non-member

Arthur K. Wheelock is the curator of Northern Baroque painting, National Gallery of Art, Washington, D.C. and author of the 1995 publication Vermeer and the Art of Painting. He is one of the most prolific writers on Vermeer and offers numerous insights linking painting techniques and artistry.

3. Guest Lecture

"Vermeer’s Time: The Woman in Blue"
speaker: Ann Jensen Adams (professor, UC Santa Barbara)
Monday, June 8 at 10 a.m.
admission: free

Vermeer’s paintings of figures engaged in quiet activities are masterpieces of silence. They have also been described as "stilled lives."This lecture discusses Vermeer’s Woman in Blue Reading a Letter  in relation to contemporaneous concerns about the passage of time, and its measurement.

Ann Jensen Adams is a professor and graduate advisor at UC Santa Barbara, department of the history of art and architecture. Her research includes 17th-century Dutch art, particularly portraiture, and the impact upon imagery of early modern developments in natural history.

4. Free Family Fun

"Tall Tales at the Timken"
Saturday, June 13 at 11 a.m
speaker: Harlynne Geisler .
admission: free

Bring your kids to explore Vermeer’s Woman in Blue Reading a Letter. Professional storyteller Harlynne Geisler will weave fanciful tales around this masterwork that was created 350 years ago. Ages 5+ are welcome. No reservations required.

5. Art in the Afternoon Gallery Talk

"The Unseen Window in Vermeer’s “Woman in Blue Reading a Letter"
Wednesday, June 24 at 12:30 p.m.
speaker: Karen Hellman (assistant curator, department of photographs, J. Paul Getty Museum)
Admission: Free

Although the canvases of Vermeer were created two centuries prior to the invention of photography, their quiet, luminous depictions of interior scenes have often been related to "photographic" qualities. This presentation discusses a few ways in which photography can offer a new lens through which to view Woman in Blue Reading a Letter.

Karen Hellman is an assistant curator in the department of photographs at the J. Paul Getty Museum. She is the curator of the exhibitions,  In Focus: Picturing Landscape  (2012), At the Window: The Photographer’s View  (2013), and  In Focus: Ansel Adams  (2014). Currently she is working on a forthcoming exhibition n Focus: Daguerreotypes  (fall 2015). She received her master’s in art history from the Institute of Fine Arts at New York University, in 2004, and she received her doctorate in art history from The Graduate Center, The City University of New York, in 2010.

6. Art in the Afternoon Gallery Talk

"Discordant Serenity and the Painting of Vermeer"
Wednesday, July 1 at 12:30 p.m.
speaker: Claudine Dixon (curatorial administrator, prints and drawings, Los Angeles County Museum of Art)
admission: free

Vermeer’s Woman in Blue Reading a Letter will be discussed in the context of some of the historical and contemporary events surrounding the painting and its fantastic journey from 17th century Delft in the Netherlands to recent visits to Southern California. The writings of various authors, including essayist Lawrence Weschler and poet W. H. Auden, offer variant paths to consider thoughts and musings about history and art, allowing us to look at our relationship to this picture and think about a perspective that lies beyond the painted surface.

Claudine Dixon is the curatorial administrator for the department of prints and drawings at the LACMA. Before joining LACMA, Claudine worked at the UCLA Grunwald Center for the Graphic Arts at the Hammer Museum. In addition to museum positions, she has taught art history courses for UCLA Extension, most notably on German art of the 19th and 20th centuries, and Rembrandt and Dutch art of the 17th century. 

7. Guest Lecture

"The Interior Life of Vermeer"
Monday, July 13 at 10 a.m.
Amy Walsh (curator of European paintings, Los Angeles County Museum of Art)
admission: free

Gallery talks feature leading curators, historians, scholars, and artists. Guests will walk, talk, and explore the Timken collection and special exhibitions. Registration is not required.

For more events and details about The Private World of Vermeer, visit the website at or call (619) 239-5548.

About the Timken Museum of Art
Known as one of the finest small museums in the world, the Timken Museum of Art celebrates its 50th anniversary in 2015, and provides visitors with an accessible and enriching cultural experience featuring a beautiful collection, intimate surroundings, and free admission.

The museum is open from 10 a.m. to 4:30 p.m. Tuesday through Saturday and Sundays, noon to 4:30 p.m. It is closed on Mondays and major holidays. For more information, visit Follow the museum on Facebook or Twitter at @TimkenArtMuseum or call (619) 239-5548.

Walter Liedtke

Walter Liedtke dies in tragic train crash

Walter Liedtke, Curator of Metropolitan Museum of Art and renowned Vermeer expert as well as one of the most distinguished scholars of Dutch and Flemish painting in the world, died in the train incident outside New York on the evening of February 3.  Walter was returning to his home in Bedford Hills, where he lived with his wife, Nancy. As was his habit, he was riding the front “quiet car,” in which he found the tranquility necessary for writing and reading.  Five other people died in the accident.

Walter conjugated culture, curiosity, passion and rigor in whatever he wrote and in all the exhibitions he curated, whether it be the monumental Vermeer and the Delft School or the intimately scaled Vermeer’s Masterpiece: ‘The Milkmaid’. The catalogue of the former remains a fundamental contribution to the proper contextualization of the artist. His monograph (Vermeer: The Complete Paintings) constitutes  a finely nuanced reading of the artist’s unique accomplishments in the light of modern Vermeer scholarship. But Walter interest in things Vermeer was wide and varied enough to comprise a computerized analysis of the weave of the artist’s canvases or the opinions from practicing artists and art lovers outside of the art institutional setting. 

Walter's energy, brilliance and organizational capacity allowed him to publish extensively and curate a number of key exhibitions at the Metropolitan.

His most important exhibitions include:
Vermeer: il secolo d’oro dell’arte olandese (September 2012-January 2013), Rembrandt at Work: The Great Portrait from Kenwood House (April-May 2012), Vermeer’s Masterpiece: The Milkmaid (September-November 2009), The Age of Rembrandt: Dutch Paintings in the Metropolitan Museum of Art (September 2007-January 2008) and Vermeer and the Delft School (June-September 2001). The latter brought in over 500,000 visitors to the Metropolitan.

His most important publications include:
Vermeer: The Complete Paintings (2008), Dutch Paintings in the Metropolitan Museum of Art (2001),Vermeer and the Delft School (1995), Rembrandt/not Rembrandt in the Metropolitan Museum of Art: Aspects of Connoisseurship (1992) and Flemish Paintings in the Metropolitan Museum of Art (1982).

remembering Walter:

The young Walter Liedtke
—Garry Schwartz

Walter Liedtke: A Reflection and Appreciation
—Arthur K. wheelock Jr.

Walter Liedtke, Our Friend and Distinguished Colleague (1945–2015)
—Thomas P. Campbell

Walter Liedtke, Curator at Metropolitan Museum of Art, Dies at 69
—Randy Kennedy

video testimonies:
Mr. Liedtke’s Metropolitan presentation, Connections/Living with Vermeer:

Youtube video Mr. Liedtke’s  discussion of Rembrandt’s Aristotle and Bust:

Vermeer, by Wayner Franits

Vermeer-related publication new logo

by Wayne Franits
March 23, 2015

In this new monograph, the latest in Phaidon’s Art and Ideas series, Wayne Franits examines the work of Vermeer within the framework of his times, one of the most intellectually creative periods in this history of art. Written in a lively and accessible style, and incorporating the latest scholarship on the artist, Franits provides fresh insights into many of Vermeer's most famous works, uncovering the creative process behind them and their wealth of meanings. All paintings by Vermeer are illustrated.

about the author:
Wayne Franits, a specialist in seventeenth-century Dutch and Flemish art, is Professor of Art History at Syracuse University, New York. His numerous publications have explored a variety of topics within the field, ranging from genre painting and portraiture to the work of the Dutch followers of Caravaggio.

also available at

Vermeer's Woman in Blue Reading a Letter exhibited at the Minneapolis Institute of Arts Centennial Celebration

Surprise exhibition of Vermeer's Woman in Blue Reading a Letter in Minneapolis

January 16 - May 3, 2015
Minneapolis Institute of Arts (Cargill Gallery)
Minneapolis, Minn.
price: free of charge

"On Vermeer's Woman Reading a Letter: A Q&A with MIA's Patrick Noon"
by Pamela Espeland

lecture :
Lawrence Weschler | "Posers: Marvel, Majesty and Sovereignty among the Habsburgs and in Vermeer"
Sunday, April 19, 2015 at 2:00 pm

With one of the world’s finest Vermeer paintings presently residing at the MIA alongside a magnificent exhibition of Habsburg splendors, Lawrence Weschler will unpack a posit about posing and the posed. Kings, queens, noblemen, and noblewomen are continually striking a pose, but who exactly is posing whom (and what?) when a painter attempts to capture that stance? And what was Vermeer up to when he set about capturing something altogether new and different in his portraits? In other words, what does it mean to be sovereign—sovereign over what, in whose eyes, and to what end?

Lawrence Weschler is director emeritus of the New York Institute for the Humanities at NYU and author of such books as Vermeer in Bosnia and Mr. Wilson’s Cabinet of Wonder.

$10; $5 MIA members; free for Paintings Affinity Group members. To register, call (612) 870-6323 or reserve online.

The Stream and the Torrent - The Curious Case of jan Torrentius and the Followers of the Rosy, by Brian Howell

by Brian Howell
Limited to 82 numbered copies

"Having been rescued from prison and torture in Haarlem, as of 1632 Torrentius is confined to a secret chamber in White Hall to be the King’s painter. He is not allowed to go out except at night and the early morning and must show a special pass to the guards. After making the acquaintance of a fellow Dutch painter one morning, Simon, he visits him and his wife, who reminds him of one of his many amours in Holland. Later, King Charles asks him to do a portrait of himself and his wife."

So begins a fascinating novel of history, magic and moral terror. A grand oeuvre in the tradition of Leo Perutz.

Christ in the Hosue of MArtha and Mary, Johannes Vermeer

Vermeer's Christ in the House of Martha and Mary goes on world tour

Vermeer's Christ in the House of Martha and Mary will form part of a touring exhibition of America and Australia and will return to the Scottish National Gallery in February of 2016.

Botticelli to Braque: Masterpieces from the National Galleries of Scotland
Kimbell Art Museum, Fort Worth Texas
June 28-September 20, 2015

The Greats: Masterpieces from the National Galleries of Scotland
The Art Gallery of New South Wales, Sydney, Australia
October 24, 2015-February 14, 2016

The Astronomer, ny Johannes Vermeer

Vermeer's Astronomer travels to Japan

February 21 - June 1, 2015
The National Art Center, Tokyo, Japan

from the museum website:
Genre painting refers to works that deal with the subject of everyday life. This exhibition, made up of 83 works that were carefully selected from the Musée du Louvre’s massive collection, traces the development of genre painting across four centuries, from the Renaissance to the mid-19th century.

In addition to Vermeer’s The Astronomer, which will be shown in Japan for the first time, the exhibition presents works by prominent painters from every era and region including Tiziano, Rembrandt, Murillo, Watteau, Chardin, and Millet, allowing viewers to enjoy the diverse charms of genre painting.

Philip Steadman

Vermeer-related lecture

Philip Steadman
Darwin Lecture Theatre, Darwin Building, London
March 5, 2015, 13:15-13:55
price: free
contact: +44 (0)20 3108 3841 |

In 2001 Philip Steadman published Vermeer’s Camera, a book that offered new evidence that the great Dutch painter relied on optical methods. An American video engineer Tim Jenison read the book and, believing he could take the argument further, proposed a simple arrangement of lens and mirrors that Vermeer might have employed. Jenison used this setup to paint a version of The Music Lesson in the Queen’s collection. The process was filmed for the Oscar-shortlisted documentary Tim’s Vermeer, released in 2014. Jenison’s method throws more light, literally, on how Vermeer could have achieved his distinctively "photographic" tonal effects.

The lecture will be streamed live online and recorded for YouTube or downloaded.

Milton Esterow

Vermeer-related lecture

Milton Esterow
Wed., March 25, 2015, 7 pm
Lexington Avenue at 92nd St
Warburg Lounge
price: from $30.00

from the 92/Y website:
It seems unimaginable now, but the works of Piero della Francesca and Vermeer were forgotten and neglected for longer than they have been admired. No other great painter has been overlooked for such a long time as Botticelli. Hardly anyone paid much attention to Frans Hals and Giotto for many years. Why have tastes in art have been changing since art first came into being? Milton Esterow, former publisher of ARTnews, gives a fascinating perspective.

Can't make it to the event? Leave your questions for our guests below, and they might be used on stage during the Q&A. Keep an eye on 92Y On Demand after the event for any video clips we might share! You might see your question used on stage.

Laura Synder

Vermeer lecture

Eye of the Beholder: Johannes Vermeer, Antoni van Leeuwenhoek, and the Reinvention of Seeing
Laura Snyder
1 Session: Wednesday, April 8, 7:00–8:30pm
location: The Arnold Arboretum of Havard Univerity, 125 Arborway, Boston, MA 02130, Hunnewell Building

Fee $5 member, $10 nonmember Students: email to register for free.

from the The Arnold Arboretum of Havard Univerity website:
"See for yourself!" was the clarion call of the 1600s. Scientists peered at nature through microscopes and telescopes, making the discoveries in astronomy, physics, chemistry, and anatomy that ignited the Scientific Revolution. Artists investigated nature with lenses, mirrors, and camera obscuras, creating extraordinarily detailed paintings of flowers and insects, and scenes filled with realistic effects of light, shadow, and color. By extending the reach of sight the new optical instruments prompted the realization that there is more than meets the eye. But they also raised questions about how we see and what it means to see. In answering these questions, scientists and artists in Delft changed how we perceive the world. Author of The Philosophical Breakfast Club, a Scientific American Notable Book, Laura Snyder returns to the Arboretum to share her latest book, Eye of the Beholder, in which she pairs painter with natural philosopher to explain the revelatory ways of seeing in the 17th century.

Fee $5 member, $10 nonmember Students: Email to register for free.

Rembrandt and the Dutch Golden Age, Budhapest

Exhibition of three Vermeer paintings in Budapest

31 October 2014 - 15 February 2015
Szépművészeti Múzeum, Budapest

Rembrandt and the Painting of the Dutch Golden Age, a large-scale exhibition to run in the Museum of Fine Arts from 1 November surveys the period of 17th-century Dutch art, one of the golden ages of European culture. The exhibition is built around Rembrandt, the greatest master of the period, by whom 20 masterpieces will be on display. The exhibition will showcase over 170 works by some 100 painters, of which 40 originate from the Museum of Fine Arts’ rich Dutch collection and 130 paintings will be contributed by private and public collections, with the most important loaning institutions including the Rijksmuseum in Amsterdam, the National Museum in Stockholm, the Louvre in Paris, the National Gallery in London, the Getty Museum in Los Angeles , the Metropolitan in New York, the Uffizi in Florence and the Prado in Madrid. A further sensation of the exhibition is that in addition to the significant number of works by Rembrandt – including the painting known as his earliest and his last self-portrait.

Visitors can also view three works by Vermeer: The Astronomer, The Geographer and The Allegory of Faith.

click here for museum page:

Vermeer inspired poetry and memoir

Vermeer in Hell  by Michael White

Vermeer in Hell
by Michael White

from publisher's website:
Through the paintings of Vermeer, Michael White explores new landscapes and transforms familiar ones in this extraordinary new collection of poems. This captivating masterwork transports us across eras and continents, from Confederate lynchings to the bombing of Dresden, through its lyrical inhabitations of some of Vermeer’s most revered paintings, each one magically described and renewed. More than mere ekphrasis, Michael White explores the transformative possibilities of great art in his fourth collection.


"Vermeer in Hell is Michael White’s museum of ghosts and shades, of narratives woven masterfully out of the personal and historical alike—out of the lived, the envisioned, the loved, and the terrible. Rarely have I felt the ekphrastic to be as dramatic as in White’s tour through the portraits of Vermeer, with its history of fiery damages, wars and afflictions, but also its own depiction of ‘love’s face as it is.’ Out of Michael White’s vision, each poem achieves for us the delicacy and durability of Vermeer’s own art."
—David Baker

"Nearly every one of Michael White's new poems is the equivalent of a quiet stroll through a blazing fire, igniting the reader's imagination. His insights are frightening and comforting at the same time, his craft allowing for the most surprising and thrilling of associations. Vermeer in Hell is a collection that belongs in the room with all of the traditions of our language's poetry, but it brings something completely original to us, too. It is not an overstatement to call this poetry Genius."
—Laura Kasischke

"In these elegant, powerful poems, Michael White pays homage to a great painter while engaging social realities that affect us all. They are brave, beautiful poems linked by authentic vision and a sensitive, educated ear."
—Sam Hamill

Travels in Vermeer: A Memoir, by Michael WHiter

Travels in Vermeer: A Memoir
by Michael White

from the publisher's webpage:

In the midst of a bad divorce, the poet Michael White unexpectedly discovers the consoling power of Johannes Vermeer's radiant vision. Over the course of a year, he travels to Amsterdam, The Hague, Delft, Washington D.C., New York, and London to view twenty-four paintings, including nearly all of Vermeer's major work.

"A certain chain of events has left me open, on a startlingly deep level, to Vermeer's gaze, to his meditation on our place on earth," White writes.

Part travelogue, part soul-searching investigation into romantic love and intimate discourse on art, this erudite and lyrical memoir encompasses the author's past--his difficult youth, stint in the Navy, alcoholism, and the early death of his first wife--and ends with his finding grace and transformation through deeply affecting encounters with the paintings of Vermeer, an artist obsessed with romance and the inner life, who has captivated millions, from the seventeenth century until now.


"All the sorrow of love is compressed into White's memoir. But so, too, is all the consolation of art. Nothing I've read...suggests so eloquently what [Vermeer's paintings] hold for a contemporary viewer…Figures it took a poet to get it this beautifully, thrillingly right."
— Peter Trachtenberg

"[Travels in Vermeer] touches on the mysteries of seduction, loss, and the artistic impulse. It shows how time can be interrupted."
—Clyde Edgerton

“This book is a treasure and a guide. It is a type of healing for the intellect and the heart."
—Rebecca Lee

about the author:

Michael White is the author of four collections of poetry and a memoir, Travels in Vermeer (Persea 2015), and has published widely in respected periodicals, including The Paris Review, The New Republic, The Kenyon Review, Ploughshares, Western Humanities Review, and the Best American Poetry. White teaches poetry and is presently chair of the Creative Writing department at the University of North Carolina, Wilmington.

publisher's webpage:

North Carolina Museum of Art logo

Vermeer-related exhibition

Small Treasures: Rembrandt, Vermeer, Hals and their Contemporaries

October 12, 2014–January 4, 2015
North Carolina Museum of Art, Raleigh, NC

from the museum website:
Small Treasures: Rembrandt, Vermeer, Hals, and Their Contemporaries
represents the first exhibition to focus exclusively on small-format 17th-century Dutch and Flemish figure paintings. Many of the century’s greatest masters contributed to this tradition: pictures by Anthony van Dyck, Adriaen Brouwer, David Teniers, Frans Hals, Rembrandt, Vermeer, Jan Steen, Gerard Terborch, Gerrit Dou, and Frans van Mieris are featured in the exhibition. Drawn primarily from public and private collections throughout the United States, the works in Small Treasures showcase the quality, skill, and diversity these artists brought to their small miracles in paint. Viewers encounter various portrait formats and types, including group and individual portraits, self-portraits, allegorical portraits, and tronies, a Dutch word for faces or character studies. A handful of genre and history paintings are also shown in order to provide a larger context for the portraits. A fully illustrated catalogue accompanies the exhibition, featuring all of the exhibited paintings reproduced in full size.

The exhibition includes:

Girl with a Red Hat, Johannes Vermeer

Johannes Vermeer, Girl with a Red Hat (c. 1665-1667)

Christ in the House of Amrtha and Mary, A Uoung Woman Seated at the Virignals,  Johannes Vermeer

Johannes Vermeer,Young Woman Seated at the Virginals (c. 1670 ), 9 7/8 x 7 7/8 in.

Adriaen Brouwer, Youth Making a Face

Adriaen Brouwer, Youth Making a Face (c. 1632–35), 5 3/8 x 4 1/8 in.

Rembrandt van Rijn, Portrait of an Old Man with a Beard

Rembrandt van Rijn, Portrait of an Old Man with a Beard (c. 1630)

Anthony van Dyck, Portrait of Nicholas Rockox

Anthony van Dyck, Portrait of Nicholas Rockox (1636), 6 in. diam. (round)

Saint Praxedis, Johannes Vermeer (?)

Saint Praxedis sold for $10,687,160

The London-based auction house Christie's reported via a Twitter feed that the Saint Praxedis (101.6 x 82.6 cm.) was sold on Tuesday, July 8 for $10,687,160 (£6,242,500). This figure barely higher that than the auction house’s lowest estimate of $10,284,000 but considerably lower than the upper estimate of $13,712,000. The painting was sold after a few bids to an Asiatic client.

The low price paid for the Saint Praxedis suggests that the results of the scientific analysis were less than convincing and that it was bought in hopes that future critical or scientific investigations will strengthened its attribution.

In 2004, Sotheby’s sold the miniscule Woman Seated at the Virginals (25.2 x 20 cm.) for $42 million (£16.2 million) a price five times greater than the auction house’s initial estimate. Previous to the two sales, the authorship of both works had been for debated for decades. On occasion of the sales the picture were proposed as authentic Vermeer’s largely the basis of scientific analysis spearheaded, in both cases, by the respective auction houses.

Before the painting was sold, Christie’s reported that after having examined the picture the conservator Libby Sheldon said that although no firm conclusion about the exact date of the picture’s Vermeer signature could be reached, she believed that it is nonetheless “old.” In 1998, Jørgen Wadum, then the chief curator of the Mauritshuis, stated that the signature had been added after the painting had been completed. Tests carried out by the Rijksmuseum show that the lead component of the lead white pigment extracted from the picture derives from a northern European source making it improbable that the picture was painted in southern Europe, as some critics had speculated. In addition, Christie’s claims that the lead white used to paint the Saint Praxedis is from the same “batch” used to painted the Diana and her Companions, a secure work by Vermeer.

However, since the results of these tests have not been published, for the moment it is not clear what meant by the term “batch.” Many pigments used by artists, including white lead, were already being produced on a large scale with the products being delivered to the retail dealers. There exists no evidence that might indicate if Vermeer prepared his own paints or bought them through one or other commercial venues.

Mauritshuis Opening on 27 June 2014

The Mauritshuis will open its doors on Friday 27 June 2014 after a two-year renovation.

The world famous painting collection, including three paintings by Vermeer, Girl with a Pearl Earring, The View of Delft and Diana and her Companions, will once again be displayed in the fully renovated and expanded Mauritshuis. After a celebratory opening, the museum will be open to the public for visit free of charge until midnight. The renovated Mauritshuis doubles its surface with an underground expansion into a building on the other side of the street. Still, little about the character of the museum will change. The appearance and unique homely atmosphere are preserved, thanks to the design of Hans van Heeswijk architects. The most obvious change is the relocation of the main entrance to the forecourt. Visitors will descend via the stairs or lift to a light foyer, connecting ‘old’ and ‘new’ underground. The new part, the Royal Dutch Shell Wing, will house the exhibition space, the brasserie and the museum shop. Furthermore, it will accommodate the educational Art Workshop, a library, and event rooms.

The museum has also rennovated its website and has added new high-resolution image is their Vermeer’s paintings which can be veiwed with a zoom feature or downloaded to one’s hard disk. The downloadable images are lower resolution than the zoom versions.

zoom features:
Girl with a Pearl Earring
View of Delft
Diana and her Compantions

Girl with a Pearl Earring
View of Delft
Diana and her Compantions

Korte Vijverberg 8
2513 AB The Hague
P.O. Box 536
2501 CM The Hague

Saint Praxedis, Johannes Vermeer (?)

Another new Vermeer?

On June 6, Christie’s announced that it was declaring the Saint Praxedis a Vermeer. According to Henry Pettifer, the head of Old Master paintings at Christie’s, after isotope analysis tests carried out by scientists at Amsterdam’s Rijksmuseum and Free University, it was found that the lead-white of the painting was a precise match for that used in another early Vermeer, Diana and her Companions— “So precise as to suggest that the same batch of paint could have been used.” He stated that the research, including an analysis of the date and signature on the painting, amounted to “a compelling endorsement” of Vermeer’s authorship. In the event that the painting is accepted by art scholars as an authentic Vermeer, it will become the second once-doubted painting in ten years to be accepted into the painter’s thin oeuvre largely on the basis of technical analysis.

The auction house excepts the work could fetch about $13 million when it is auction in early July. The work is part of the collection of Barbara Piasecka Johnson, a Polish-born art-lover who amassed a huge trove of art after marrying Johnson & Johnson heir J. Seward Johnson. Piasecka died last year.

Click here to access the Christie's PDF online catalogue entry for the Saint Praxedis for art which contains further art historical and technical information.

Old Master & British Paintings Evening Sale
8 King Street, St. James’s, London - Tuesday, July 8, 2014 at 6:00 pm

Saturday, July 5 10:00am– 5:00 pm
Sunday, July 6 10:00 am – 5:00 pm
Monday, July 7 9:00 am -4:30 pm
Tuesday, July 8 9:00 am – 3:30 p

The Painting

The painting is believed to be a copy of a work by Felice Ficherelli (1605 – 1669 ?) from about 1640–45, now in the Collection Fergnani in Ferrara. It represents the early Roman martyr, Saint Praxedis or Praxedes, who squeezes a martyr’s blood from a sponge into an ornate vessel. The most obvious difference between the copy and the original is that there is no crucifix in the Ferrara work.

Critical Fortunes

The painting’s provenance before the mid-twentieth century is unknown. The collector Jacob Reder bought it at a minor auction house in New York in 1943. The painting was first publicly viewed in 1969 when it was exhibited at the Metropolitan Museum of Art as a work by Felice Ficherelli in the exhibition Florentine Baroque Art from American Collections, no. 39. Vermeer’s signature in the lower left was noted in the catalogue after it had been examined by Ted Rousseau and members of the conservation department at the Metropolitan Museum of Art.

After the work appeared in New York exhibition, it was first published (1969) as a Vermeer by Michael Kitson, an art historian with the University of London. Kitson believed the signature was integral with the paint surface and “the form of the signature corresponds exactly to those on Vermeer’s early works, particularly the Girl Asleep.” Kitson likened the Saint Praxedis copy to Vermeer’s Christ in the House of Martha and Mary, for its “breadth of form and handling and a similar gravity (though not sickness) of mood.”*

In 1986, Arthur K. Wheelock Jr. enthusiastically embraced the work as an authentic Vermeer** the citing the stylistic and technical similarities with the two early Vermeers and the essentially Dutch character of the modeling of Saint Praxedis’ face, which he compared to the down turned head of Vermeer’s Maid Asleep. Wheelock noted two signatures. One, at the lower left was the name “Meer ”and the date “1655.” On the suggestion of Egbert Haverkamp-Begemann, Wheelock advanced that the other inscription contained the word “Meer,” followed by the letter “N,” the letter “R,” then two lower case “o’s.” Wheelock holds that both the signatures and the date are integral to the paint surface and that the second could be interpreted as: “[Ver]Meer N[aar] R[ip] o [s] o” or “Vermeer after Riposo,” Ficherelli’s Italian nickname (Repose).

However, on the occasion of the 1994-1995 Vermeer Washington/The Hague exhibition where the work was shown by Wheelock as the earliest known painting by Vermeer, its authenticity was seriously contested by a number of art historians and conservators. Jørgen Wadum, then the chief curator of the Mauritshuis, firmly stated that the “Meer 1655” inscription had been added after the painting had been completed. Contrary to Wheelock, he believed the brushwork of Saint Praxedis had nothing to do with the brushwork of either the Diana and her Companions or the Christ in the House of Mary and Martha. He also noted that no smalt smalt, a dull blue pigment which is now obsolete, had been detected in the Saint Praxedis while both the Christ in the House of Mary and Martha and the Diana and her Companions had significant amounts of smalt.

When Saint Praxedis was examined by Marten Jan Bok, a specialist on the 17th-century Utrecht painter Johannes van der Meer, he was unable even to see the second inscription, and in any case, he wrote “nowhere in 17th-century Dutch painting will you find such an inscription on a copied painting.”

Ben Broos found that Wheelock’s interpretation of the signature as “Meer naar Riposo” was “wishful thinking” at best. “In my opinion, Saint Praxedis is the latest wrongly attributed Vermeer of the caliber of Van der Laan and Vrel.” Other experts such as Albert Blankert, Gregor J. M. Weber, and the National Gallery in London’s Christopher Brown have arrived at similar conclusions.

In 2002,  Jon Boone wrote, “In looking at Saint Praxedis one does have a hard time understanding its attribution to Vermeer. It is a second-rate copy of a mediocre painting by an undistinguished artist, with certain features—such as the awkward wrap-around hands—antithetical to Vermeer’s sensibility as well as his draftsmanship. While the face itself is beautiful, certainly more charming than that of the original, it is still a facsimile face, a close copy of the source.” And further: “The Saint Praxedis attribution is severely strained, failing the standard of Ockham’s razor: The simplest explanation covering all the facts of the case is that the painting is a copy executed either by the original painter, Ficherelli, in Florence, or by another artist in Ficherelli’s circle.” ***

In fact, there is no evidence that Vermeer had ever visited Italy or that the Ficherelli’s original, or an eventual copy, had ever traveled outside the country.

Ivan Gaskell had written earlier “that as a result of, first, examining the painting while exhibited in Washington (scarcely optimal conditions) in conjunction with Vermeer’s two early history paintings, secondly, of discussing the work with specialist colleagues, and, thirdly, reviewing the published arguments, I feel unable to accept an unqualified attribution of Saint Praxedis to Vermeer.”

In his 2008 complete catalogue of Vermeer’s painting, Walter Liedtke does not even mention the Saint Praxedis, while in 2009 he wrote “the repetition is probably by the Florentine painter [Ficherelli] himself.” ****

* KITSON, Michael. “Florentine Baroque Art in New York.” Burlington Magazine, Vol. 111, No. 795 (Jun., 1969). 409-410.

** WHEELOCK, Arthur K. Jr. “‘St. Praxedis’: New Light on the Early Career of Vermeer.” Artibus et Historiae, Vol. 7, No. 14 (1986). 71-89.

*** BOONE, Jon. “Saint Praxedis: Missing the Mark.” In Essential Vermeer. 2002 <>

**** LIEDTKE, Walter: Vermeer: The Milkmaid. The Metropolitan Museum of Art, New York. 2009. note 5, 23.

Holland's Golden Age in America: Collecting the Art of Rembrandt, Vermeer and Hals, Esmee Quodbach

New Vermeer-related publication

Holland’s Golden Age in America: Collecting the Art of Rembrandt, Vermeer, and Hals
by Esmée Quodbach
ed. New York (The Frick Collection) and University Park (The Pennsylvania State University Press) 2014

From the Pennsylvania State University Press website:
Americans have long had a taste for the art and culture of Holland’s Golden Age. As a result, the United States can boast extraordinary holdings of Dutch paintings. Celebrated masters such as Rembrandt van Rijn, Johannes Vermeer, and Frans Hals are exceptionally well represented, but many fine paintings by their contemporaries can be found as well. In this groundbreaking volume, fourteen noted American and Dutch scholars examine the allure of seventeenth-century Dutch painting to Americans over the past centuries. The authors of Holland’s Golden Age in America explain in lively detail why and how American collectors as well as museums turned to the Dutch masters to enrich their collections. They examine the role played by Dutch settlers in colonial America and their descendants, the evolution of American appreciation of the Dutch school, the circumstances that led to the Dutch school swiftly becoming one of the most coveted national schools of painting, and, finally, the market for Dutch pictures today. Richly illustrated, this volume is an invaluable contribution to the scholarship on the collecting history of Dutch art in America, and it is certain to inspire further research.

In addition to the editor, the contributors are Ronni Baer, Quentin Buvelot, Lloyd DeWitt, Peter Hecht, Lance Humphries, Walter Liedtke, Louisa Wood Ruby, Catherine B. Scallen, Annette Stott, Peter C. Sutton, Dennis P. Weller, Arthur K. Wheelock, Jr., and Anne T. Woollett.

This book provides answers for anyone who has ever wondered why there are so many great Dutch paintings in U.S. collections. Essays by leading curators and scholars draw on the history of art, as well as an understanding of cultural, economic, and political conditions, to illuminate the American taste for seventeenth-century Dutch painting.
Emilie Gordenker, Director, Mauritshuis, The Hague

Drawing on the experience and insights of many of her colleagues in museums and the academy, Esmée Quodbach brings us an impressively broad overview of the early collectors of Dutch art in America. This essential volume provides illuminating context for major figures such as J. P. Morgan and welcomes unsung heroes such as Robert Gilmor, Jr., onto this stage, but also lifts the curtain on early colonial as well as contemporary collections. These varied accounts are spiked with color, drama, and highlights, including the story of the wealthy collector who has to ask, "Who is Vermeer?"
David de Witt, Bader Curator of European Art, Queen’s University

Esmée Quodbach is Assistant Director of the Center for the History of Collecting at The Frick Collection and Frick Art Reference Library in New York.


—Esmée Quodbach

Introduction: A Taste for Dutch Art
—Peter C. Sutton


The Early Years: The Formation of America’s Taste for Dutch Art

1. Pictures chiefly painted in oils, on board”: Dutch Paintings in Colonial New York
—Louisa Wood Ruby

2. Robert Gilmor, Jr.’s "Rea " Dutch Paintings
—Lance Humphries

3. Collecting Old Dutch Masters: Originals, Interpretations, Copies, and Reproductions
—Annette Stott

4. Wilhelm von Bode and Collecting in America
—Catherine B. Scallen


The Gilded Age: Great Collections and Collectors of Seventeenth-Century Dutch Art

5. Golden Age Paintings in the Gilded Age: New York Collectors and the Metropolitan Museum of Art, 1870–1920
—Walter Liedtke

6. "They leave us as they find us, they never elevate": John G. Johnson and the Dutch Masters
Lloyd DeWitt

7. Collecting Vermeer, 1887–1919
—Esmée Quodbach

8 Collecting Dutch Paintings in Boston
—Ronni Baer

9. The Dutch Painting Collection at the National Gallery of Art
—Arthur K. Wheelock, Jr.


The Twentieth Century: The Dissemination of Dutch Art Across America and the Dutch Reaction

10. The Passionate Eye of W. R. Valentiner: Shaping the Canon of Dutch Painting in America
—Dennis P. Weller

11. Unexpected Rivals for the Dutch: Competing with the Americans for Holland’s National Heritage in Great Britain and Elsewhere
—Peter Hecht

12. Golden Opportunities: Collecting Rembrandt in Southern California
—Anne T. Woollett

13. Has the Great Age of Collecting Dutch Old Master Paintings Come to an End?
—Quentin Buvelot

National Gallery of Art Online Editions

from the NGA website:

Available for the first time on the National Gallery of Art website, NGA Online Editions presents the most current, in-depth information on the Gallery’s collections by the world’s leading art historians along with rich capabilities for exploring that information. A customized reading environment and toolkit for managing text and images are intended both to provide scholars with a useful workspace for research and to encourage the study and appreciation of art.

NGA Online Editions launches with Dutch Paintings of the Seventeenth Century by Gallery curator Arthur K. Wheelock Jr. and will ultimately document more than 5,000 paintings, sculptures, and decorative arts in the nation's collection. Editions include an introduction by the curator, illustrated scholarly entries (each preceded by a short overview), artists' biographies, technical summaries, and a complement of rich media, educational materials, and appendices related to the featured collection. Formerly known as The Collections of the National Gallery of Art Systematic Catalogue (a printed series of authoritative volumes on the Gallery’s permanent collections), NGA Online Editions puts this same detailed information—and more—at the fingertips of students, scholars, and anyone eager to learn more about the treasures of the National Gallery of Art.

Here are the relative pages:

National Gallery of Art Online Editions

Dutch Paintings of the Seventeenth Century

Johannes Vermeer

Is Vermeer's stolen Concert closer to being recovered?

At 1:24 a.m. of March 18, 1990, two thieves stole thirteen works of art from the Italianate mansion Isabella Stewart Gardner Museum in Boston, including Vermeer's mid-career masterpiece, The Concert. None of the paintings have been recovered. In the years following the theft, most of the leads went cold. Billboards  announcing the a $5,000,000 reward for information about the theft and the arrest if  a Boston mob leaders suspected of having information on the heist yielded nothings.  Until 2013.

On 19 March, 2013, on the 23rd anniversary of the crime, the FBI made the stunning announcement that they knew who was behind 1990 theft, but they did not supply names because the investigation was ongoing.

On May, 2013,  Robert Gentile, 76, convicted of receiving stolen goods, carrying a deadly weapon in a motor vehicle and possession of illegal firearms, was arrested. Police suspected he knew something about the heist. Gentile denied knowing anything but failed a FBI polygraph test when asked if he knew anything about the Boston heist. Moreover, a police investigation in Gentile's house turned up a handwritten list of the stolen paintings, their estimated worth and a newspaper article about the heist a day after it happened.

And now, an FBI agent in charge of the investigation for the bureau says there are confirmed sightings of the missing artwork from credible sources. FBI Special Agent Geoff Kelly told, "We believe that over certain periods of time, this artwork has been spotted."  Up until now, there were no official sightings of the artwork.

Two FBI informants told law enforcement that Carmello Merlino was planning to return Rembrandt's “The Storm on the Sea of Galilee” in the 1990s, to try to collect reward money. His plans were foiled when he was arrested for an aborted armored car heist, according to

All about the theft of The Concert.

Vermeer paintings becomes video

Vermeer painting recreated in video

Girl Reading a Letter at an Open Window
Video installation by Menno Otten
35mm celluloid

from the film maker's website:
Johannes Vermeer's Girl Reading a Letter at an Open Window has been recreated by filmmaker Menno Otten as a continuous picturesque loop, subtly evolving around Vermeer’s masterpiece. Due to its duration and inconspicuous development the installation is seen as a still at first glance, only to reveal its true form in the following moments. In an elegant symbiosis between the expressive moment and dynamic movement a timeless masterpiece comes to life.

Only in the last century have the visual arts surpassed the limitations of ‘mere’ suggestions of movement. And yet the time-space continuum of cinematography hasn’t diminished the expressive power of the single two-dimensional image. On the contrary, the introduction of motion into the visual arts made the decisive moment – the unique concurrence of both the dramatic and the visual highlight of an event (Cartier-Bresson, 1952) – even more compelling. Movement aroused our awareness of non-movement.

The artistic tension between movement and motionlessness is the essence of Living Paintings, an Inner Visions project in which the award-winning Dutch documentary maker and video artist Menno Otten literally sheds a new light on old master’s paintings. Through video installations that recreate these icons and expose a timespan that encloses their decisive moment, the paintings come to life. On the boundary of cinema and photography, the classical images enter the world of time and motion, in an attempt to unify the antithesis described by Bill Viola: “Film can embody time, something the Old Masters couldn’t do”.

see video fragment here:

Young Woman Seated at a Virginal, Johannes Vermeer

Young Woman Seated at the Virginals exhibition at Philadelphia Museum of Art extended to September 30

Vermeer’s Young Woman Seated at theVirginals
Philadelphia Museuym of Art
October 26, 2013 - September 30, 2014

from the museum website:
Vermeer’s Young Woman Seated at the Virginal will be joined by two additional loans from the Leiden Collection: Frans Hals’s Portrait of Samuel Ampzing and The Coat of Many Colors attributed to Rembrandt’s pupil Gerbrand van den Eeckhout. All three paintings are on view in the galleries of European art 1500–1850 on the second floor, in the company of a selection of the Museum’s own paintings from the Dutch Golden Age. The Museum possesses more than three hundred seventeenth-century Dutch paintings, the largest collection of its kind in North America.

For further in formation, click here.

exhibition curator:
Christopher Atkins, Associate Curator of European Painting & Sculpture

Vermeer and Music film

Vermeer-related film

Vermeer and Music
In cinemas worldwide on October 10 & varying dates

The National Gallery, London, is offering a fresh look at one of the most startling and fascinating artists of all – Johannes Vermeer, painter of the famous Girl with a Pearl Earring. The National Gallery has chosen to focus on Vermeer’s relationship with music. It is one of the most popular themes of Dutch painting and reveals an enormous amount about the sitter and the society they lived in. New research, revealed for the first time at this exhibition, shows how his technique and materials affected his works.

Tim Marlow goes beyond the exhibition to tell the entire story of Vermeer’s life – and, in doing so, shows in fabulous HD detail many other of the artist’s captivating works.

To book tickets go to the find a venue page.

Vermeer-related article

Huib J. Zuidervaart and Marlise Rijks
The British Journal for the History of Science, pp. 1 - 33, (March 2014)

online article can be accessed at:

A special interest in optics among various seventeenth-century painters living in the Dutch city of Delft has intrigued historians, including art historians, for a long time. Equally, the impressive career of the Delft microscopist Antoni van Leeuwenhoek has been studied by many historians of science. However, it has never been investigated who, at that time, had access to the mathematical and optical knowledge necessary for the impressive achievements of these Delft practitioners. We have tried to gain insight into Delft as a 'node' of optical knowledge by following the careers of three minor local figures in early seventeenth-century Delft. We argue that through their work, products, discussions in the vernacular and exchange of skills, rather than via learned publications, these practitioners constituted a foundation on which the later scientific and artistic achievements of other Delft citizens were built. Our Delft case demonstrates that these practitioners were not simple and isolated craftsmen; rather they were crucial components in a network of scholars, savants, painters and rich virtuosi. Decades before Vermeer made his masterworks, or Van Leeuwenhoek started his famous microscopic investigations, the intellectual atmosphere and artisanal knowledge in this city centered on optical topics.

Especially of interest is the authors' tie between three optical practitioners who lived in Delft simultaneously with Vermeer. One of them, Jacob Spoors, was in 1674 the notary of Vermeer and his mother-in-law Maria Thins. Another was an acquaintance of Spoors, the military engineer Johan van der Wyck, who made an optical device in Delft in 1654, most likely a camera obscura. A report about the demonstration in nearby The Hague has been preserved. Van der Wyck also made telescopes and microscopes and an apparatus that probably was a kind of perspective box. As a telescope maker he was preceded by Evert Harmansz Steenwyck, brother-in- law of the Leiden painter David Bailly and father of two Delft still-life painters: Harman and Pieter Steenwyck. The latter was familiar with Vermeer's father Reynier Jansz Vermeer, at a time when the young Vermeer was still living with his parents. According to the authors, this is the first real archival evidence that such a device existed in Delft during Vermeer’s life.

Girl with a Pearl Earring, Johannes Vermeer

Vermeer-related exhibition

The Myth of the Golden Age. From Vermeer to Rembrandt: Masterpieces from the Mauritshuis
(La ragazza con l'orecchino di perla: Il mito della Golden Age Da Vermeer a Rembrandt Capolavori dal Mauritshuis)
Feb. 8 - May 25, 2014
Bologna, Palazzo Fava

Among the paintings going on exhibition are the Girl with a Pearl Earring and the Diana and her Companions by Johannes Vermeer and The Goldfinch by Carel Fabritius, neither of which will have been seen by Italian audiences in many years. The decision to organize a major international travelling exhibition of a select group of paintings from the museum’s rich collection was prompted by the large-scale renovations to its premises, which will be finished in 2014. The exhibiton is organized by Linea d'ombra.

For further in formation, click here.

exhibition curators:
Marco Goldin
Emilie E.S. Gordenker
Quentin Buvelot
Ariane van Suchtelen
Lea van der Vinde

Mariët Westermann

Vermeer-related lecture

“Silence in the Studio: Vermeer and Terborch”
by Mariët Westermann
Washington College, Chestertown MD (Hotchkiss Recital Hall, Gibson Center for the Arts)
Wednesday, April 9 (5 p.m.)

from the Washington College website:
Celebrated art historian Mariët Westermann, vice president of the Andrew W. Mellon Foundation, will explore the technical innovations by Dutch painters of the Golden Age such as Vermeer and Gerrit ter Borch in a lecture entitled “Silence in the Studio: Vermeer and Terborch.” T he lecture will be given on the occasion of the 11th annual Janson-La Palme Distinguished Lecture in European Art History on the college campus.

A native of Holland, Westermann graduated magna cum laude from Williams College with a degree in history. She later completed her master’s degree and Ph.D. in art history at NYU’s Institute of Fine Arts and has written extensively on Dutch painting and Vermeer. Westermann is the author of several acclaimed books, including A Worldly Art: The Dutch Republic 1585-1718 (ranked a Notable Book of the Year by the New York Times); The Amusements of Jan Steen: Comic Painting in the 17th Century; Rembrandt: Art and Ideas; and Anthropologies of Art.  She also authored Johannes Vermeer 1632-1675 for the Rijksmuseum Dossiers series and served as guest curator of “Art and Home: Dutch Interiors in the Age of Rembrandt” at the Newark Museum and Denver Art Museum. 

The lecture is free and open to the public.

Click here for Washington College event page.

Young Woman Seated at a Virginal, Johannes Vermeer

Vermeer-related exhibition

Vermeer’s Young Woman Seated at the Virginals
October 26, 2013 - March 2014
Philadelphia Museum of Art

from the museum website:
Vermeer’s Young Woman Seated at the Virginals will be joined by two additional loans from the Leiden Collection: Frans Hals’s Portrait of Samuel Ampzing and The Coat of Many Colors attributed to Rembrandt’s pupil Gerbrand van den Eeckhout. All three paintings are on view in the galleries of European art 1500–1850 on the second floor, in the company of a selection of the Museum’s own paintings from the Dutch Golden Age. The Museum possesses more than three hundred seventeenth-century Dutch paintings, the largest collection of its kind in North America.

For further in formation, click here.

exhibition curator:
Christopher Atkins, Associate Curator of European Painting & Sculpture

From Perception to Paint: the practical use of the Camera Obscura in the time of Vermeer

Vermeer-related study

From Perception to Paint: the practical use of the Camera Obscura in the time of Vermeer
Jane Jelley
in Art and Perception
July 2013

There has been much debate as to whether Vermeer himself would have used any kind of optical aid in the execution of his paintings. The paintings themselves appear to show optical effects and distortions, seen only through a lens and not with the naked eye. Was Vermeer just influenced by the view through a camera, or did he transfer the projected images directly to his paintings?

The experiment shows a method that would have made transfers from a projection to a canvas a practical possibility, using readily available materials and contemporary technology. This technique not only solves the problems of the reversals of camera obscura images, but significantly, the resultant transfers from the lens show striking resonances with Vermeer’s own underpainting, revealed by scientific analysis. This research also provides some answers about the use of particular materials in the 17th-century studio.

Click here to download PDF

Vermeer's Lady in Waiting

Vermeer-related novel

Vermeer's Lady in Waiting
by Laurel "Lolly" Anderson

Millicent Clermont must learn what is real or fake in art, life, and love. A painting discovered in her mentor's Virginia plantation is on the list of Nazi looted art. Is it a real Vermeer? Was does the secret code in the overpainting mean and why will people kill for it? From the majestic halls of the National Gallery of Art, Washington, DC, and the luscious landscapes of VIrginia, to Paris, Jerusalem, and Germany, readers will be enthralled with fascinating details of painting authentication, forgeries, and the Nazi desecration of the world's cultural treasures.

Oklahoma Book Awards 2013

to order, click here

Woman in Blue Reading a Letter (Rijksmuseum publication)

New Vermeer publication

Woman in Blue Reading a Letter (Rijksmuseum publication)
by Gregor J.M. Weber
64 pages full-colour, paperback, Dutch and English

The hushed mood, the painstaking composition, the modulating blues, the suggestion of light - all these aspects make Vermeer's Woman in Blue (ca. 1663) one of the great masterpieces of painting. Discover this Rijksmuseum highlight in a book by Vermeer expert Gregor Weber.

Click here to order.

Vermeer and Technique

Vermeer-related web study

Vermeer and Technique

Discover the techniques and materials behind four of Vermeer’s music-themed paintings on display in the exhibition Vermeer and Music: The Art of Love and Leisure (26 June – 8 September 2013).

Illuminating and richly illustrated.

topics include:

from the National Gallery website:
The extended loan of Vermeer's The Guitar Player from Kenwood House enabled National Gallery researchers to analyse the painting's materials and closely study the techniques used. The findings were compared with other late paintings by Vermeer in the National Gallery (A Young Woman seated at a Virginal and A Young Woman standing at a Virginal), and a slightly earlier work (The Music Lesson) kindly lent by the Royal Collection for the National Gallery's 2013 summer exhibition Vermeer and Music: The Art of Love and Leisure.

This project presented an opportunity for close visual examination and technical imaging of these works. In addition, a small number of paint samples obtained from each of these paintings in the 1960s and archived since that time at the Doerner Institut were kindly loaned for study. Techniques for the analysis of these samples, not available in the 1960s, scanning electron microscopy with energy dispersive X-ray analysis (SEM-EDX) and attenuated total reflectance – Fourier transform infrared (ATR-FTIR) spectroscopy have now been undertaken. The aim has been to draw together information from current visual inspections, analytical evidence from the old paint samples, and the results of the analysis of a very small number of new samples which we have been able to take from our own paintings. The study has been directed to understanding the current condition of the paintings and how this may relate to the alteration of Vermeer’s original painting materials and to conservation treatments undertaken in the past.

Canvas matches in Vermeer: A case study in the fabric analysis of canvas supports

Vermeer-related publication

Canvas matches in Vermeer: A case study in the fabric analysis of canvas supportsMetropolitan Museum Journal, vol. 47, 2012, pp. 99 - 106
by Walter Liedtke, C. Richard Johnson Jr. and Don H. Johnson

the article is downloadable at:

For the past several years two American scientists, C. Richard Johnson Jr. and Don H. Johnson, "have developed computer algorithms that allow an analysis of canvas weaves that is more precise than traditional methods. They have digitally mapped canvases used by European artists ranging in date from the 1450s to Vincent van Gogh’s pictures of 1888 – 90. The results so far have been variously revealing for those artists and for Velázquez, Vermeer, Monet, Renoir, Gauguin, and Matisse.
In the case of Johannes Vermeer, twenty nine of his canvases have been digitally mapped to date, out of the thirty-six paintings by him (two of which are on wood) that are generally accepted by scholars. The two scientists discovered that "three canvas weave matches were found, with three different implications: a question of authenticity; another concerning chronology; and the hypothesis that two pictures were intended by the artist as a pair. The results of the analysis suggest that the canvas of the Lacemaker originated from the same bolt of canvas as that of the recently reattributed Young Woman Seated at a Virginal (not to be confused with the London work of Vermeer by a similar title). Another weave match found in Vermeer’s oeuvre is between two genre paintings of identical size, Young Woman Standing at a Virginal and Young Woman Seated at a Virginal, both in the National Gallery, London.

Walter Liedtke, the curator of the Metropolitan Museum of Art and Vermeer expert, furnishes an art historical reading of the investigation

Girl with a Pearl Earring, Johannes Vermeer

Vermeer’s Girl with a Pearl Earring in the United States in 2013 & in Bologna, Italy, 2014

Girl with a Pearl Earring: Dutch Paintings from the Mauritshuis (35 works)
de Young - San Francisco Museum of Fine Arts
San Francisco
Jan 26 - June 2, 2013

Girl with a Pearl Earring: Dutch Paintings from the Mauritshuis (35 works)
High Museum of Art
June 22 - Sept. 29, 2013

Vermeer, Rembrandt, and Hals: Masterpieces of Dutch Painting from the Mauritshuis
(10 works)
Frick Collection
New York
Oct. 22, 2013 - Jan 19, 2014

La ragazza con l'orecchino di perla: Il mito della Golden Age. Da Vermeer a Rembrandt capolavori dal Mauritshuis
8 febbraio - 25 maggio 2014
Bologna, Italy (Palazzo Fava)

press release:
Masterpieces from the Royal Picture Gallery Mauritshuis will be exhibited at three museums in the United States from January 2013 to January 2014. The Mauritshuis has agreed to send more than thirty works to the de Young/Fine Arts Museums of San Francisco and the High Museum of Art in Atlanta; the tour will finish with a smaller selection at The Frick Collection in New York. Among the paintings going on tour are the famous Girl with a Pearl Earring by Johannes Vermeer and The Goldfinch by Carel Fabritius, neither of which will have been seen by American audiences in ten years. Furthermore, this is the first occasion since the mid-1980s that a substantial group of works from the Mauritshuis has come to the United States. The decision to organize a major international travelling exhibition of a select group of paintings from the museum’s rich collection was prompted by the large-scale renovations to its premises, which will be finished in 2014.

The Guitar Player, Johannes Vermeer

Vermeer exhibition in London

Vermeer and Music: Love and Leisure in the Dutch Golden Age
26 June – 8 September, 2013
Sainsbury Wing, National Gallery of Art, London
Admission free

This exhibition explores the concept of music as a pastime of the elite in the northern Netherlands during the 17th century. Vermeer and Music: Love and Leisure in the Dutch Golden Age will bring together the National Gallery’s two paintings by Vermeer, Young Woman Standing at a Virginal and Young Woman Seated at a Virginal, The Royal Collection's The Music Lesson, A Young Woman Seated at the Virginal (attributed to Johannes Vermeer) and the Guitar Player, on exceptional loan from the Iveagh Bequest, Kenwood House.

The exhibition aims to enhance viewers’ appreciation of these beautiful and evocative paintings by Vermeer and his contemporaries by juxtaposing them with musical instruments and songbooks of the period. Visitors will be able to compare 17th-century virginals, guitars, lutes and other instruments with their painted representations to judge the accuracy of representation and what liberties the painter might have taken to enhance the visual or symbolic appeal of his work. In 17th-century Dutch paintings, music often figured as a metaphor for harmony, a symbol of transience or, depending on the type of music being performed, an indicator of one’s education and position in society. Musical instruments and songbooks were also included as attributes in elegant portraits to suggest that the sitter was accomplished in this area.

Tim Jenison

Vermeer-related film

In Tim’s Vermeer, Tim Jenison, a Texas-based inventor and giant of video and post-production software for home computers, (Video Toaster, LightWave, TriCaster) attempts to solve one of the greatest mysteries in European art: How did the seventeenth- century Dutch master Johannes Vermeer manage to paint so realistically – 150 years before the invention of photography?

In the search of an answer, Jenison began by working off of the theories set forth in David Hockney’s Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters and Philip Steadman’s Vermeer’s Camera: Uncovering the Truth behind the Masterpieces, both of which allege that Vermeer employed an optical device, the camera obscura, as an aid to his painting. Fascinated by the theories of Hockney and Steadman (both outsiders to the art history enclave), Jenison built his own camera obscura but found something was amiss. He immediately came to suspect that not only had Vermeer used some sort of optical device to trace the drawing of his motif onto his canvas (as Steadman had for all practical purposes proved) but must have used it to register the colors and tonal values of his paintings which have been long admired for their uncanny precision, apparently out of reach of his contemporaries.

While viewing in person Vermeer’s Music Lesson, perhaps the artist’s most “optically based” work, Jenison, a video engineer well versed in analyzing images scientifically, became firmly convinced that the work presents optical information that cannot be gathered by retinal observation. Pondering how Vermeer could have achieved such results, he invented—the idea came to him as he was relaxing in a bath tub—a simple, easy-to-use optical device, whose technology was easily within the reach of the seventeenth-century artist, and painstakingly taught himself to paint with it. The mirror of Jenison’s device reflects an object in such a way that a painter can duplicate not only an object’s principal contours on canvas but its precise colors and tones. Putting his theory to the ultimate test, Jenison built a perfectly scaled “set” of the Music Lesson in a San Antonio studio and “repainted” Vermeer’s Music Lesson from it using the device. After various false starts, Jenison learned how to handle the device with greater efficacy, how to hand grind paint and how to domesticate paint and brush, an entirely new experience for the digital engineer. He employed seven months to complete the work, which he claims is easily accurate enough to uphold his hypothesis.

Although Jenison admits that there is no historical evidence that proves his hypothesis, he believes that if his method for transferring form, color and tone form with a mechanical device to a canvas was used by Vermeer, a chapter of art history would have to be revised.

Jenison’s friends, the illusionists and professional debunkers Penn & Teller, united with him to fully document his years- long investigation into the mysterious methods of Dutch Master Johannes Vermeer. The movie includes commentary from Jillett, Hockney and Steadman. Speaking of the film, Hockney said, “It might disturb quite a lot of people,” since it forces you to question everything that you thought you knew about great art and the people responsible for it. But, as Jillette points out, "it doesn’t argue that they weren’t geniuses; it just shows that they were fathomable geniuses, rather than unfathomable ones."

blog article:
Essential Vermeer Time post with debate (with 500+ comments)

video interviews:
Click here to view a YouTube interview with Jenison and hear his ideas on Vermeer at 34:35 minutes into the video. Another YouTube interview with Jenison,

Variety - “Penn and Teller’s uncanny crowdpleaser begs the question, is it still a masterpiece if an amateur could do it?” - Peter Debruge

The Guardian - "DIY Vermeer documentary utterly misses the point about old masters
Tim Jenison tried for a whole year to recreate a Vermeer painting – and all he got was a pedantic imitation
"-Jonathan Jones

Girl with a Pearl Earring nad Other Treasures from the Mauritshuis, in cinema

in cinemas from 13 January

from Exhibition on Screen' website:
Girl with a Pearl Earring by Johannes Vermeer is one of the most enduring paintings in the history of art. Even today, its recent world tour garnered huge queues lining up for the briefest glimpse of its majestic beauty - In Japan 1.2 million people saw the exhibition. Yet the painting itself is surrounded in mystery. This beautifully filmed new documentary seeks to investigate the many unanswered questions associated with this extraordinary piece. Who was this girl? Why and how was it painted? Why is it so revered?

After its world tour, the Girl with a Pearl Earring returned to the much-loved Mauritshuis in The Hague, Netherlands, which has just completed extensive renovations. Enjoying unparalleled exclusive access to this historical exhibition, the film takes the audience on a journey as it seeks to answer many of the questions surrounding this enigmatic painting and its mysterious creator, Vermeer. Using the recently completed and highly complex makeover of the museum as its starting point, the film goes on a behind the scenes detective journey to seek out the answers that lie within the other masterpieces housed in the collection.

Vermeer's Daughter: Vermeer realted conference

Vermeer-related conference

Vermeer's Daughter?
NYU Cantor Film Center, New York
Saturday May 18, 2013 (11:00 a.m. – 6: p.m.).

In his book Vermeer’s Family Secrets (Routledge in 2009), Cooper Union art history professor Benjamin Binstock proposed that four paintings by Vermeer, including the Girl with a Red Hat,  might actually have been painted by his daughter, Maria, who he further identified as the model for the famous Girl with a Pearl Earring. Thus far, however, Binstock’s thesis has been met with silence in the art historical press—itself a fascinating response.  But what if we were to take Binstock’s claims seriously, or at least allow them a fair hearing? How might we go about doing so? Beyond that, what if we in turn were to think about how such theories make their way through the art historical vetting process? How generally does scholarship evaluate such claims, and in turn how ought we evaluate how it does so? And if Binstock were proven right?

An all-day symposium will address Binstock’s unorthodox theory and related questions will be held at the NYU Cantor Film Center, Saturday May 18, 2013 (11:00 a.m. – 6: p.m.). The symposium will attended by:

Entrance is open to the public and free.

For further details click here or download the PDF, which features a brief account of Binstock’s theory.

Vermeer's Concert

One big step closer to recovering Vermeer’s stolen Concert?

drawn from the CNN website:

The FBI said Monday it believes it knows who was behind one of the most significant art heists in the United States -- the 1990 theft of 13 precious works, once valued at $500 million, from Boston's Isabella Stewart Gardner Museum. The did not reveal the suspects' names,  but know that they "are members of a criminal organization with a base in the mid-Atlantic states and New England."

The bureau also said it believes the Vermeer’s Concert—including paintings by Rembrandt—was taken to Connecticut and the Philadelphia area and that the thieves unsuccessfully tried to sell some of the artwork in Philadelphia about 10 years ago. The announcement comes on the 23rd anniversary of the theft, which the FBI says is one of the largest property crimes in U.S. history.

see full story:

Guitar Player (detail), Johannes Vermeer

High-resolution of Vermeer's Guitar Player

The National Gallery of Art in London has just pblished a high-resolution image of Vermeer's Guitar Player which will reside at the gallery until the renovation of the pciture's permanant collect (Kenwood House, Lond) is completed.

room 25, National Gallery, London

Guitar Player now on display at the National Gallery

The National Gallery of Art in London is now exhibiting Vermeer's late Guitar Player during the renovation of the Kenwood House, where it is normally housed. The work is in the same room as the National Gallery's own Lady Standing at the Virginals, room 25, second level.

Woman in Blue Reading a Letter,  Johannes Vermeer

Vermeer travels to Shangai, São Paulo and Los Angeles

The Rijksmuseum is starting its global campaign for the Grand Opening on 13 April 2013 with an international tour of one of its masterpieces, Woman in Blue Reading a Letter. It will be first shown in Shanghai at the China Art Museum in the exhibition Congratulations from the World, then at the Museu de Arte in São Paulo, Brazil, and finally at J. Paul Getty Museum in Los Angeles. At Grand Opening on 13 April 2013, the painting will be on show again in the Rijksmuseum.

Woman with a Lute, Johannes Vermeer

Vermeer and Dutch painting exhibition in Rome, Italy

(ora, con sette pagine in italiano)

Vermeer. Il secolo d’oro dell’arte olandese (in italiano)
(Vermeer and the Golden Age of Dutch Art)
Scuderie del Quirinale
Rome, Italy
ottobre 2012 – 20 gennaio 2013

from the exhibition website:
Vermeer and the Golden Age of Dutch Art is the first large-scale exhibition dedicated to one of the foremost Dutch painters of the seventeen century, and perhaps one of the general  public’s most beloved artists.

Organized by the Azienda Speciale Palaexpo and co-produced with MondoMostre, the exhibition is curated by Arthur K. Wheelock, Curator of Northern Baroque Paintings - National Gallery of Art in Washington, Walter Liedtke, Curator of European Paintings Metropolitan Museum of Art in New York and Sandrina Bandera, Soprintendente per il Patrimonio Artistico Storico, Artistico ed Etnoantopologico di Milano.

Other than the eight confirmed works by Vermeer, many paintings by the key protagonists  of the 17th-century Dutch genre school  will be on display.

Girl with a Pearl Earring

Vermeer’s Girl with a Pearl Earring & the Diana and her Companions go to Japan in 2012

Masterpieces from the Royal Picture Gallery Mauritshuis
October 29 - December 2012
City Museum Kobe, Japan

This show will feature Vermeer's masterpiece Girl with a Pearl Earring and the early Diana and her Companions while many other masterpieces are already on display at a separate Vermeer show (continuing through March 14) at Tokyo's Bunkamura.

video presentation :

Complete Vermeer Exhibitions

Essential Vermeer website additions

From Renaissance to Rococo. Four Centuries of European Drawing, Painting and Sculpture exhibition logoi

Vermeer's Woman with a Pearl Necklace travels to Tokyo

From Renaissance to Rococo. Four Centuries of European Drawing, Painting and Sculpture
Jun. 13 - Sept. 17, 2012
The National Museum of Western Art, Tokyo

from the the exhibition website :

Arriving in Japan will be 107 paintings, sculptures, and drawings from the collections at the National Museums of Berlin (Staatliche Museen zu Berlin)—magnificent collections amassed at the museums as a national mission, after their founding in the 19th century when Berlin was the capital of the Kingdom of Prussia. The exhibition will enable viewers to compare artworks of the Italian and Northern Renaissances as they view European art of the 15th to 18th centuries.

Included is one work that must not be missed—Young Lady with a Pearl Necklace, one of the finest of the few surviving masterpieces by Jan Vermeer van Delft, the foremost artist of 17th century Dutch Golden Age painting. The painting will be making its first appearance in Japan.

Along with paintings by Rembrandt and sculptures by the master German sculptor Tilman Riemenschneider, the exhibition will also offer some 30 drawings from the Italian Renaissance—a period spanning 200 years, from 1420 to around 1600—including works by Sandro Botticelli and Michelangelo Buonarroti.

Van Musscher

Vermeer contemporary Michiel van Musscher commemorated at the Van Loon Museum in Amsterdam

Michiel van Musscher: the opulence of the Golden Age
9 March – 10 June 2012
Museum van Loon, Amsterdam

While Vermeer lovers might remember Michiel Van Musscher’s emulation of Vermeer’s Art of Painting, perhaps only a few have given this lesser-known 17th-century Dutch painter the full attention he deserves.  To rectify the situation, on March 9, 2012 the Museum Van Loon opened an exhibition Michiel van Musscher (1645 -1705) the Wealth of the Golden Age, the very  first exhibition dedicated to this talented artist.

By the end of the 17th century, Van Musscher had become a successful portraitist. While visiting the capital in 1687, Swedish architect Nicodemus Tessin deemed him the very best Amsterdam painter for small portraits. He is noted for having portrayed the exuberant lifestyle of the Dutch elite and the wealth of the Golden Age with  great pictorial quality and richness in detail. His portraits are painted in the tradition of Netscher and Van Mieris although it is clear that he had seen and drawn inspiration from Vermeer as well for a few of his own compositions. Among his sitters was Tsar Peter the Great.

The exhibition counts not only his more famous paintings from Dutch collections and the Van Loon Museum itself, but also a significant number of paintings from private collections and international museums. The exhibition is a tribute to the work of Van Musscher and visualizes the latter days of the Dutch Golden Age.

catalogue avaliable at:

Michiel Van Musscher (1645 -1705). The Wealth of the Golden Age.
Gerhardt, Robert. Francis Quint.
Amsterdam, Museum van Loon,
(paperback, pp. 64, col. ill., 24 x 27 cm.)

museum page:

The Rijksmuseum Bulletin 2012 - 1

Rijksmuseum publishes new bulletin with two articles on Vermeer's newly restored Woman in Blue Reading a Letter

The Rijksmuseum Bulletin 2012 - 1

"The restoration of Woman in Blue Reading a Letter by Johannes Vermeer"s

"A Question of Framing: On Vermeer’s Woman in Blue Reading a Letter"

to order, click here:

Woman in Blue Reading a Letter by Johannes Vermeer

Vew digital image of Vermeer's recently restored Woman in Blue Reading a Letter

click here to access high resolution image

The Rijksmuseum has updated their hi-res image of the Woman in Blue Reading a Letter after its recent restoration. At first sight it looks a bit disjointed as pictures always do after restoration. The whole much cooler in hue now the long winding scarf-like piece of cloth on the table, once fairly muddled, can be made out a bit better recalling a similar scarf-like object that drapes down in the Art of Painting. The figure has gained much force and now stands out of the picture more than it did before the dark, yellow varnish was removed. The painting now appears to have greater spatial resonance and sense of volume.

Some color can be made out in the map as well as a few topographical features which had been overpainted. A row of discreet brass buttons with tiny highlights now run along the side of the foreground chair which had been completely obscured by retouches.

Girl with a Pearl Earring

Vermeer’s Girl with a Pearl Earring & the Diana and her Companions go to Japan in 2012

Masterpieces from the Royal Picture Gallery Mauritshuis
Tokyo Metropolitan Art Museum
June 30-Sept. 17, 2012

This exhibition will mark the reopening of the Tokyo Metropolitan Art Museum, which has been closed for renovations for two years.

This show will feature Vermeer's masterpiece Girl with a Pearl Earring and the early Diana and her Companions while many other masterpieces are already on display at a separate Vermeer show (continuing through March 14) at Tokyo's Bunkamura.

video presentation :

Woman Holding a Balance, Johannes Vermeer

Vermeer painting goes to Detroit

Detroit Institute of Art
August 8 - Labour Day (about), 2012

On loan from the National Gallery of Art in Washington, D.C., Vermeer's Woman Holding a Balance will take center stage in a tightly focused exhibition, flanked by two similarly intimate scenes painted by Gerard ter Borch and Pieter de Hooch, two of Vermeer's contemporaries and stars of the DIA's Dutch collection. The painting is the first Vermeer to visit Detroit in probably 65 years.

Christ in the House of martha and Mary

Vermeer’s early Christ in the House of Martha and Mary to be exhibited in Italy

Da Vermeer a Kandinsky. Capolavori dai musei del mondo a Rimini
Jan. 21 - June 3, 2012
Castel Sismondo
Piazza Malatesta
47900 Rimini, Italy


New hi-res images of 8 Vermeer's paintings

New hi-res images of 8 Vermeer's paintings

Google has added seven new high-resolution images of Vermeer’s painting to their Google Art Project, bringing the total works of this master to fourteen. The Art of Painting is quite good in color but at maximum magnifications it is notably out of focus. The Music Lesson is more or less a disaster: it is overexposed, rotated slightly to the right and not even all that large. The Young Woman with a Water Pitcher is the same image already available on the Metropolitan website. The two Dresden paintings, for some reason, are both very poor in color and out of focus. The Christ in the House of Martha and Mary is only acceptable. That leaves the Washington Woman Holding a Balance and the Lady Writing, both which are in focus and perfectly registered in color, useful for the scholar and first-tier Vermeer admirer alike.

links to Google hi-res images:

The Love Letter, Johannes Vermeer

Rijksmuseum sends Vermeer's Love Letter to Turkey for the first time

Where Darkness Meets Light...Rembrandt & his Contemporaries
Sakip Sabanci Museum in Istanbul
21 February - 10 June 2012

For the first time, the Rijksmuseum is organising an exhibition on the Dutch Golden Age in Turkey, including five paintings by Rembrandt and Love Letter by Vermeer. Over 100 masterpieces from the Rijksmuseum collection will be on display in Sakip Sabanci Museum in Istanbul from 21 February to 10 June 2012. The exhibition is part of the festivities marking 400 years of diplomatic relations between Turkey and the Netherlands.

The exhibition showcases the rich and varied nature of 17th-century Dutch art and history, telling the story of the power and majesty of the young Dutch Republic in the Golden Age through a selection of 111 paintings, drawings, prints and applied art in the form of carpets, ceramics, silverware and glassware. The exhibits include landscapes by Jan van Goyen, Jacob van Ruisdael and Aelbert Cuyp, still lifes by Pieter Claesz and Adriaen Coorte, genre pieces by Gerard ter Borch, Gabriël Metsu and Pieter de Hooch, and jocular scenes by Jan Steen and Adriaen van Ostade. Two portraits by Frans Hals will also be on display, alongside several cityscapes by Gerrit Berckheyde and two pen paintings by Willem van de Velde de Oude.

The highlights of the exhibition are The Love Letter(1669-1670) by Johannes Vermeer and no fewer than five paintings by Rembrandt van Rijn : Portrait of Haesje van Cleyburgh (1634), Still life with peacocks (c. 1639) and Portrait of Dr Ephraïm Bueno (1645-47), The music lesson (1626) and Joseph recounting his dreams (1633).

museum website:

oung Woman Seated at a Virginal, Johannes Vermeer

Vermeer’s late Young Woman Seated at a Virginal exhibited in Oxford

Ashmolean Museum of Art, Oxford
Jan. 23 - Sept., 2012

The Girl with a Glass of Wine

Vermeer's Girl with a Glass of Wine on exhibition in Kassel

Light Structure - The Light in the Age of Rembrandt and Vermeer
18 November 2011 - 26 February 2012
Museum Hessen Kassel, Kassel, Germany

Seventy superb works from the Baroque age of painting will be displayed in the upcoming exhibition Light structure: The light in the Age of Rembrandt and Vermeer, in William Castle Museum in Kassel. The exhibition will address one of the most notable aspects of European painting: the translation of light in painting. Attempts on the part of painters to render the myriad effects of light with paint were paralleled by intense scientific research on light.

In cooperation with the Berlin research group  Historical light structure   the exhibition examines the different aspects of light painting in the 17th century on the basis of paintings, graphics and optical devices, also in view of the contemporary scientific treatises. The starting point is the art of the 15th and 16 Century and the fundamental innovations of Caravaggio. North of the Alps have been taken including those of Utrecht artists like Gerard van Honthorst and developed.

Different areas of the exhibition are dedicated to the particular diversity and range of Dutch paintings of light, including day light, nocturnal landscapes, interior and portrait paintings. Vermeer’s Girl with a Glass of Wine will be one of the principal works of the exhibition.

museum website (German only):

opening times:
Tues - Sun and holidays 10-17 clock, Thu 10-20 clock, closed Mondays

closed sign at Kendoow House, London

Vermeer’s Guitar Player to be exhibited at the London National Gallery in 2012 and 2013

With the closure of the Kenwood House for urgent restoration in 2012, the museum was posed with the dilemma of what to do with their masterpieces. The Kenwood has just announced that Vermeer’s Guitar Player will be displayed at the National Gallery in London. The exquisite work, never before relined, will also be examined by the National Gallery's conservation department. Keeping it in storage was ruled out because it was the most costly alternative. Dates to be announced.

Vermeer painting on exhibition

Vermeer lecture in London

The "Newest" Vermeer – How Technical Research Convinced the Doubting Scholars
presented by Libby Sheldon
Wednesday 29th February, 2012 at 6.30pm
Art Workers Guild, 6 Queen Square

from the BACPR press release:
The only painting by Vermeer in private ownership, the tiny Young Woman Seated at the Virginal has been on display in the UK for the first time since it was sold in 2004, first at the Fitzwilliam and now at the Ashmolean, Oxford until September. Ten years previously it was believed by many to be a nineteenth-century pastiche or a twentieth-century fake. It proved relatively uproblematic to show it was earlier, but even if it was of a contemporary date, why should it be by Vermeer?

The talk will explain the research trail followed by Libby Sheldon, Catherine Hassall and Nicola Costaras, (and help from many other colleagues in the UK and abroad) to find the author of the painting, and presents the compelling technical evidence unearthed that led to its final attribution. It came to them in a Jiffy bag and left for the final time in a specially-made box and two bodyguards. What had made the difference?

Libby Sheldon is a paint analyst/historian and a lecturer at UCL. She has made in-depth studies of the techniques of Vermeer and the Pre-Raphaelites, has been closely involved in the Making Art in Tudor Britain project and is starting a research project on Aelbert Cuyp. Her main research interest is the historic employment of pigments.

Sam Robinson by email <> or by phone 01372 468 143

Free To BAPCR Members, £10 to Non Members

Art Workers Guild Tel 0207 728 3009 Nearest underground Holborn or Russell Square

Vermeer's Women exhbition catalogue

Vermeer exhibition catalogue

Vermeer’s Women: Secrets and Silence
by Marjorie E. Wieseman, Mr. Wayne Franits & H. Perry Chapman
224 pages, Yale University Press

product description:

Focusing on the extraordinary Lacemaker from the Musée du Louvre, this beautiful book investigates the subtle and enigmatic paintings by Johannes Vermeer that celebrate the intimacy of the Dutch household. Moments frozen in paint that reveal young women sewing, reading or playing musical instruments, captured in Vermeer’s uniquely luminous style, recreate a silent and often mysterious domestic realm, closed to the outside world, and inhabited almost exclusively by women and children.

Three internationally recognized experts in the field explain why women engaged in mundane domestic tasks, or in pleasurable pastimes such as music making, writing letters, or adjusting their toilette, comprise some of the most popular Dutch paintings of the 17th century. Among the most intriguing of these compositions are those that consciously avoid any engagement with the viewer. Rather than acknowledging our presence, figures avert their gazes or turn their backs upon us; they stare moodily into space or focus intently on the activities at hand. In viewing these paintings, we have the impression that we have stumbled upon a private world kept hidden from casual regard.

purchase exhibition catalogue from Fitzwilliam Museum online shop

The Girl with a Glass of Wine

Vermeer's Girl with a Glass of Wine on exhibition in Kassel

Light Structure - The Light in the Age of Rembrandt and Vermeer
18 November 2011 - 26 February 2012
Museum Hessen Kassel

Seventy superb works from the Baroque age of painting will be displayed in the upcoming exhibition Light structure: The Light in the Age of Rembrandt and Vermeer, in William Castle Museum in Kassel. The exhibition will address one of the most notable aspects of European painting: the translation of light in painting. Attempts on the part of painters to render the myriad effects of light with paint were paralleled by intense scientific research on light.

In cooperation with the Berlin research group  Historical Light Structure (   the exhibition examines the different aspects of light painting in the 17th century on the basis of paintings, graphics and optical devices, also in view of the contemporary scientific treatises. The starting point is the art of the 15th and 16 Century and the fundamental innovations of Caravaggio. North of the Alps have been taken including those of Utrecht artists like Gerard van Honthorst and developed.

Different areas of the exhibition are dedicated to the particular diversity and range of Dutch paintings of light, including day light, nocturnal landscapes, interior and portrait paintings. Vermeer’s Girl with a Glass of Wine will be one of the principal works of the exhibition.

museum website (German only):

The Love Letter, Johannes Vermeer

Vermeer's Love Letter travels to the Hermitage

Love Letter by Vermeer. From the collection of the Rijksmuseum, Amsterdam. In the Masterpieces from the World`s Museums
12 October, 2011 - 6 November, 2011
Italian Cabinet (233), New Hermitage
Saint Petersburg, Russia

further information forthcoming:

Vermeer in Japan

Vermeers in Japan

Communication: Visualizing Human Connection in the Age of Vermeer

Other than the previously announced (see entry below for details) world premiere of Vermeer's Woman in Blue Reading a Letter after its restoration, Lady Writing and the Lady Writing a Letter with her Maid will be a part of the exhibition Communication: Visualizing Human Connection in the Age of Vermeer in Japan.

World premiere of Vermeer's Woman in Blue Reading a Letter after its restoration.

exhibition website:

  • Kyoto Municipal Museum of Art, Kyoto:   25 June – 16 Oct 2011
  • Miyagi Museum of Art, Sendai:     27 Oct-2011 – 12 Dec 2011
  • The Bunkamura Museum of Art, Tokyo:    23 Dec – 14 March 2012

Arthur K. Wheelock Jr.

Vermeer exhibition catalogue

Vermeer exhibition catalogue

Human Connections in the Age of Vermeer
Arthur K. Wheelock Jr. and Danielle H.A.C. Lokin
Scala Publishers Ltd

This book focuses on the many forms of communication that existed in 17th-century Dutch society between family members, lovers, and professional acquaintances, both present and absent. The forty-four carefully selected Dutch genre paintings include major works by many of the finest masters of the period, including Johannes Vermeer, Pieter de Hooch, Gerard ter Borch and Gabriel Metsu. Vermeer's three masterpieces about love letters form the core of the exhibition as they are profound examples of the power of communication. Dutch artists of the 17th century portrayed the wide range of emotions elicited by the various forms of communication, not only in the manner in which they render gestures and facial expressions of personal interactions, but also in the ways in which they show men and women responding to the written word. The painters often introduced objects from daily life that had symbolic implications, among them musical instruments, to enrich the pictorial narratives of their scenes. Published in conjunction with the exhibition Communication: Visualizing the Human Connection in the Age of Vermeer (2011-2012), which celebrates the 400th anniversary of the diplomatic exchanges between Japan and the Netherlands, this book connects the pictorial and the literary aspects of Dutch cultural traditions during the Golden Age.

Woman with a Lutel, Johannes Vermeer

Vermeer travels to California

Vermeer's Woman with a Lute of the New York Metropolitan Museum of Art will be on temporary loan to the Norton Simon Museum in Pasadena from July 8 through Sept. 26, 2011.

press release

Walter Liedtke

Vermeer lecture

Vermeer’s Women: Discreet Objects of Desire
Walter Liedtke, (curator of European paintings at the Metropolitan in New York City)
Norton SImon Museum of Art, Pasadena, California
Saturday, July 9, 2011 - 4:00 p.m. - 5:00 p.m.

drawn from the Norton Simon website:

In this lecture, held in conjunction with the loan of Vermeer’s Woman with a Lute from the Metropolitan Museum, Walter Liedtke, will focus on the diverse women in Vermeer’s paintings and considers what they meant to the artist, as subjects in Dutch art and society, and as reflections of his distinctive approach to visual experience. It could be said that Vermeer engaged in an intellectual (although strongly felt) voyeurism, since many of his women are idealized objects of male desire, enthralling but beyond reach. The theme was well suited to Vermeer’s style, which defined intimate spaces in mostly optical terms. The viewer is unable to enter the space or touch the objects, but he—and a man is surely assumed—can also not escape the hypnotic vision. Held in the Theater.

Gangsters and Vermeer: Will we ever see Vermeer's stolen Concert again? Perhaps yes.


With the arrest Wednesday of notorious Boston crime boss James "Whitey" Bulger, many in the art world are now asking: Could it provide a break in the greatest art heist in American history which included Vermeer's Concert? Rumors have long swirled that Bulger, the head of the city's powerful Irish-American mob at the time, may have played a role - or must have known who did. Some have speculated that he stashed the stolen masterpieces away to use as a "get-out-of-jail-free card" if he was ever caught. Others think he sent the paintings to allies in the Irish Republican Army to use as a bargaining chip. The Gardner Museum had no comment Thursday on the arrest other than a Tweet saying, "Until a recovery is made, our work continues." Many who have studied the case are similarly skeptical about Bulger's direct involvement. Last year, investigators in the Gardner case said there was no evidence in the mountains of wiretaps and other records to link Bulger to the crime.

Bunkamura, Geographer

Vermeer's Geographer continues exodus

The Golden Age of Dutch and Flemish Paintings
Toyota Municipal Museum of Aichi
June 11 - August 28
Aichi, Japan

After the exhibition at the Guggenheim Museum Bilbao, Vermeer’s Geographer continues its exodus to Tokyo and Aichi, then further overseas to Wellington, New Zealand and Melbourne, Australia. The Städel Museum in Frankfurt, which is currently closed for full renovation, assures it that all its paintings in the exhibition will be back home for reopening in late 2011 or 2012, in total to seven museums.

Ownership of Vermeer's Art of Painting questioned

Heirs’ Claim for Hitler’s Vermeer Painting Is Rejected by Austrian Panel

An Austrian panel has rejected a claim for a Vermeer painting by the heirs of a man who sold it to Adolf Hitler, saying there was no evidence the sale was forced or that the seller was persecuted. Austria’s art restitution panel threw out the argument by the heirs of Jaromir Czernin that Hitler’s acquisition amounted to a "sale under duress" and should be nullified. The panel instead recommended that Austria keeps the painting. "There is no reason to assume that the sale of ‘The Art of Painting’ by Jaromir Czernin to Adolf Hitler was an invalid transaction," the panel said in a statement on its website.

Vermeer's Woman Holding a Balance travels to Munich

Vermeer's Woman Holding a Balance travels to Munich

Vermeer in Munich: King Max I Joseph of Bavaria as a Collector of Old Masters
Alte Pinakothek
Barer Strasse 27
D-80799 Munich
17 March–19 June 2011

curator: Dr. Marcus Dekiert

from the museum website:

At the beginning of the 19th century, the first king of Bavaria, Max I Joseph (1756–1825), amassed a private art collection of the highest quality. He focused almost exclusively on 17th-century Dutch masters, mostly landscapes and genre paintings. To these he added the works of contemporary painters in Munich who were inspired by such Old Masters. In December 1826, the private royal collection was sold at auction. Some exceptional works were acquired for the state collections; others found their way to the Alte Pinakothek via roundabout routes – as part of Ludwig I’s collection, for example; many are now scattered far afield. From today’s point of view, the greatest loss is a masterpiece by Johannes Vermeer: Woman Holding a Balance of 1664. This exquisite work is returning to Munich from the National Gallery of Art in Washington for a threemonth period. Surrounded by other exceptional paintings from the "Golden Age" – including works by Jacob van Ruisdael, Willem van de Velde the Younger and Philips Wouwerman – it gives visitors the opportunity to discover Max I Joseph of Bavaria as a collector of Old Masters.

The Golden Age of Dutch Painting, Masterpieces from the Rijksmuseum exhibition in Qatar

Vermeer travels to Qatar

The Golden Age of Dutch Painting, Masterpieces from the Rijksmuseum
Museum of Islamic Art, Doha
11 March – 6 June, 2011

Qatar Museums Authority (QMA) in collaboration with the Rijksmuseum, Amsterdam, presents The Golden Age of Dutch Painting, Masterpieces from the Rijksmuseum, the first major exhibition of Dutch art in the Gulf region. It will take place in the temporary exhibition hall at the Museum of Islamic Art from 11 March – 6 June, 2011.

Forty-four paintings, among the best in the Rijksmuseum’s collection are being loaned to QMA. These paintings give a wide-ranging view of the artists, lifestyle and topography of Holland in the 17th century. Included are works of Rembrandt and Vermeer.

Vermeers travels to Cambridge

Masterpiece a Month: Presiding Genius
Johannes Vermeer - A Lady at the Virginals with a Gentleman (The Music Lesson)
March, 2011
The Dulwich Picture Gallery

Vermeer's Music Lesson, too infrequently on public display, will be shown for the month of March at the Dulwich Picture Gallery as a part of the yearly celebration of the Gallery’s bicentenary.

Vermeer lecture in Edinburg

Vermeer: Being the Viewer
Friday, 18th February 2011, 12.45-1.30pm
National Gallery Complex, National Gallery of Scotland, Edinburg (free, unticketed)

from the gallery website:
Vermeer’s painting is famously hushed. He tried to paint dramatic events, but moved off to conjure real events.

Dr James Lawson, Lecturer in Architectural History at the University of Edinburgh, explores how the observer occupies an increasingly odd position in relation to what is to be seen in Vermeer's paintings.


The Young Vermeer in Context logo

Vermeer conference

The Young Vermeer in Context
5 March 2011, 2pm – 6:30pm
National Gallery of Scotland
The Mound
Edinburgh EH2 2EL
United Kingdom

information form the museum:

The young Vermeer presents a unique opportunity to compare directly the three earliest paintings by Johannes Vermeer. On occasion of this exhibition the National Gallery of Scotland is staging a study afternoon, bringing together a distinguished group of international experts. Focussing on Vermeer’s early career the talks will revisit his start as a history painter and shift to genre painting, his artistic and social environment, and the rediscovery of "Young Vermeer" in the 19th century. The podium will offer the opportunity to get involved and discuss these important paintings with the experts and to discover more about the development of one of the world’s most celebrated artists.

- Dr. Albert Blankert, Independent Scholar, The Hague
- Edwin Buijsen, Head of Collections, Royal Picture Gallery Mauritshuis, The Hague
- Dr. Adriaan E. Waiboer, Curator of Northern European Art, National Gallery of Ireland, Dublin

- Professor Christopher Brown, Director, The Ashmolean Museum, Oxford
- Professor Gregor J. M. Weber, Head of the Department of Fine Arts, Rijksmuseum, Amsterdam

- Dr Tico Seifert Senior Curator of Northern
European Art, National Gallery of Scotland, Edinburgh

1.30 – 2pm, registration (HLT)
2 – 5pm, study afternoon (HLT)
5 – 6.30pm, Wine reception and private view (NG)

Tickets: £12 (£10 concessions) are available from
the Information Desk at the National Gallery Complex,
or by calling 0131 624 6560, Monday

see museum flyer:

Vermeer's Music Lesson on public display

Vermeer's Music Lesson on public display

The Music Lesson is frequently inaccessible to the general public.
It will hang in Buckingham Palace, in the State Apartments picture
gallery for the months of August and September, 2011.


Young Woman Seated at a Virginal on display at the Chrystler Museum of Art

Vermeer showing

Young Woman Seated at a Virginal on display at the Chrystler Museum of Art

Vermeer's miniscule Young Woman Seated at a Virginal - the only Vermeer in private hands - will be temporarily exhibited at it Chrysler Museum of Art, in Norfolk, Virginia from 1 June 2010 - 1 January 2011. News on programming related to the work will be reported here as they become available.

The Young Vermeer exhibition catalogue

Vermeer exhibition catalogue

The Young Vermeer
by Edwin Buijsen

The exhibition catalogue, with informative text and fine reproductions, delves into the three paintings from the beginning of Vermeer’s artistic career: the Mauritshuis’ Diana and her nymphs of c. 1653-1654, the Christ in the house of Martha and Mary (c. 1655) and the National Gallery of Scotland in Edinburgh, and The Procuress (1656) from the Staatliche Kunstsammlungen in Dresden.

available at the Mauritshuis online bookshop:

Vermeer: The Art of Painting

Special exhibition in Vienna of the Art of Painting

Vermeer: The Art of Painting
Kunsthistorisches Museum
Maria Theresien-Platz, Vienna
25 January – 25 April 2010

The Art of Painting has a unique place in Vermeer’s oeuvre. Although it was very likely not executed as a commission, it never left the artist’s studio. Even after Vermeer’s death, which left his family with enormous financial problems, his widow Catharina tried to prevent a sale of this precious painting. Most likely, it was made as a showcase piece to be presented to connoisseurs and potential customers. The exhibition investigates a number of facets of this most complex of Vermeer’s compositions.

Besides extensive technological studies regarding the work’s state of conservation, several central subjects are faced including the complex iconography supported by period documentation. Some of the props in the picture will be on display; a period chandelier, tapestry, wallmap as well as a precise reconstruction of a slashed doublet worn by the painter.

Other questions are investigated as well. Does the painting represent Vermeer’s real studio? What does the painting reveal about Vermeer’s working methods? Which pigments did painter utilized? How was the composition developed? Did the painter make use of optical devices?

Numerous loans from European and American museums and private collections and historical documents from Dutch archives provide a springboard for discovering Vermeer’s masterpiece.

In addition the Kunsthistorisches Museum displays paintings, sculptures and details of films by contemporary artists (George Deem, Maria Lassnig, Peter Greenaway etc.) whose creation were inspired by Vermeer’s Art of Painting.

Facebook logo

Essential Vermeer attempts Facebook

Essential Vermer: Facebook

What does the global social network Facebook have to do with Vermeer? At first glance very little. Take a look at many of the art institutions’ Facebook pages that tend to be one-way monologues with insignificant interaction. People's comments really don't seem to matter.

And yet the chance to bring the Vermeer community a bit closer might be worth a try. I have found Facebook surprisingly efficient for diffusing news rapidly and opening  lines of quick, two-way communication.

So what can you do? Have a look, leave a comment and keep on coming I'll keep on plugging away for a year or so - the time necessary to evaluate any web initiative - and see if a marriage between social networking and art history makes any sense.

Art + Travel Europe: Step into the Lives of Five Famous Painters book cover

Art Travel Guide

Art + Travel Europe: Step into the Lives of Five Famous Painters
Museyon Guides

Van Gogh. Munch. VERMEER. Caravaggio. Goya. Five iconic artists whose inspirational works have been obsessed over by art lovers and travelers for years.

Curated by industry experts, Art + Travel Europe is the first guidebook to feature detailed walking tours of the five cities where these artists lived, loved and labored. Readers will discover the sights and stories behind such iconic works as Starry Night and The Scream, go on the run to retrace the steps of Caravaggio in exile, plus much, much more. You know their art; now step into their lives.

Walking tours of five cities as seen through the eyes of five iconic artists: Van Gogh's Arles, Munch's Oslo, Vermeer's Delft, Caravaggio's Rome, Goya's Madrid

Contributors: Kristin Hohenadel (The Los Angeles Times), Lea Feinstein (SF Weekly), Sandra Smallenburg (Arts Editor NRC Handelsblad), George Stolz (ARTnews), Barbie Latza Nadeau (CNN Traveler)
  • Meticulously researched articles curated by local experts.
  • Chapters loaded with useful sidebars, travel tips, and suggested itineraries with easy-to-read maps.
  • Comprehensive index of artworks and museum locations around the globe.
  • Listings of books, films and music inspired by or about each artis.
  • Over 100 color photographs.
  • Appeal for both the armchair traveler as well as the get-up-and-go traveler.
  • Original cover illustrations by Tiny Inventions.

Click here to purchase at

Vermeer, Nils von Büttner

Vermeer book

Vermeer (German only)
by Nils von Büttner

Jan Vermeer van Delft had a formative influence over our ideas of the Dutch Golden Age. Yet during his lifetime there were few indications of his later fame. His incomparable genre scenes came to typify his work. Nils Büttner's concise and lively introduction traces the painter's life, presents his work in its historical and social context and explains the pictures' symbolism, still often regarded as mysterious.

on sale at

Vermeer lecture

lecture by Paul Taylor
4:00 pm - Friday, 5 March 2010
Auditorium of the National Library complex
5 Prins Willem Alexanderhof
The Hague

The Netherlands Institute for Art History (RKD) aims to spotlight art historians who have conducted pioneering research on Dutch art. The first lecture, entitled Vermeer, Lairesse and Composition, will be given by Dr Paul Taylor, deputy curator of the Photographic Collection at the Warburg Institute in London and a specialist in Dutch seventeenth- and eighteenth-century art and art theory. The text of the Hofstede de Groot Lecture will be published as the first volume in a new series of publications (Waanders Publishers).

Paul Taylor has distinguished himself with his investigation of several key Dutch painting concepts, such as houding, gloe and ‘lakheid, on which he has published various scholarly articles: "The Concept of 'Houding’ in Dutch Art Theory" (1992); "The Glow in Late Sixteenth and Seventeenth Century Dutch Paintings" (1998); "Flatness in Dutch Art: Theory and Practice"(2008). By thoroughly analysing these terms, searching for comparable terms in Italian and French writings, and linking them with pictorial aspects of Dutch seventeenth-century painting and drawing, he has singled out in a remarkably original fashion several pictorial qualities that are characteristic of Dutch visual art in the Golden Age.

The Hofstede de Groot Lecture is named after the art historian Cornelis Hofstede de Groot (1863-1930), whose extensive art-historical documentation forms the basis of the RKD collection.

The Hofstede de Groot Lecture will be followed by a reception.

date: Friday, 5 March 2010

time: 4:00 pm (you are welcome as of 3:30pm: tea and coffee will be served)

admission: Free of charge

location: Auditorium of the National Library complex, 5 Prins Willem Alexanderhof, The Hague

official language: English

registration (mandatory):

Art of Painting exhibition catalogue

Art of Painting catalogue on sale

The sumptuous Kunsthistorisches Museum catalogue of the Art of Painting exhibition is currently on sale at the Kunsthistorisches online shop. Other than the extraordinarily fine illustrations this 259- page volume presents excellent essays.

Vermeer: Die Malkunst
exhibition catalog 2010
paperback in German
with English Translations of all essays
price: EUR 29,90

click here for bookshop link

The museum also proposes a number of Vermeer Art of Painting spinoffs like scarfs, shoulder bags, coffee cups, jigsaw puzzles and magnets as well as the more conventional postcards and reproductions.

Vermeer's Woman in Blue Reading a Letter to be restored

Vermeer painting restored

Vermeer's Woman in Blue Reading a Letter to be restored

The Rijksmuseum has just announced that as a part of an ambitious conservation program Vermeer’s Woman in Blue Reading a Letter will be thoroughly restored.

Other than Vermeer’s masterwork, other pieces will restored and ready for the 2013 reopening of the Rijksmuseum. They include Six burial figures from the T’ang Dynasty, a mahogany period room from 1748 called The Beuning room, and the Silver table ornament by Jamnitzer which is one of the absolute highlights of the museum’s collection of European silversmither.

from the Rijksmuseum website:

As it is flanked in the exhibition room by Vermeer’s two other masterpieces, The Milkmaid and The Little Street, it is even more noticeable that Woman in Blue Reading a Letter is in distinct need of restoration. The coat of varnish has turned yellow, the blue is worn, the uneven layer of paint is peppered with minor irregularities, the retouches have faded, etc. Precisely that which is so appealing in Vermeer’s paintings – i.e. the bright colours and the incidence of light – is now hidden behind an irregular yellowed layer of varnish.


Love Letter exhiobition in Paris

Vermeer's Love Letter travels to Paris

The Dutch Golden Age: From Rembrandt to Vermeer
October 7, 2009 – February 7, 2010
Pinacothèque de Paris

The Pinacothèque de Paris will host an exhibition will put on an outstanding Dutch works of art, an ensemble of over one hundred and thirty pieces, including about sixty paintings, thirty graphic works, ten etchings as well as ten objects to give an ample representation of carved ivories, tapestries, china, wooden miniatures, silverware, glassworks and furnishings.

Vermeer’s late little Love Letter, will be on display.

The Milkmaid, Johannes Vermeer

Vermeer's Milkmaid exhibited in New York

Vermeer’s Masterpiece,"The Milkmaid"
Sept. 10 - Nov. 29, 2009
Metropolitan Museum of Art, New York

Organized to honor the 400th anniversary of Henry Hudson’s historic voyage to New York from Amsterdam, the show, Sept. 10 through Nov. 29, 2009 will focus on old masters who, like Vermeer, were active in the period of exploration, trade and artistic flowering that occurred during the Dutch Golden Age in the 17th century.

Views on Vermeer: 12 Short Stories

Documentary on Vermeer

Views on Vermeer: 12 Short Stories
color, HD, 52 min

  • director - Hans Pool
  • photography - Hans Pool
  • screenplay - Koos de Wilt trailer:



onsale at: ICARUS

Johannes Vermeer (1632-1675) left us a small oeuvre of only 36 paintings. Internationally, the power of his work is now more profound than ever. Blockbuster exhibitions, the novel and movie Girl with a pearl earring caught a broad audience. Millions are touched by his work. What do we see in Vermeer that makes him so contemporary? The dignity of his painted ladies, the cinematic and photographic character of his images, the psychological impact, the serenity or apparent glimpse in our own everyday life? Influential contemporary artists, photographers and opinion leadersunravel the extraordinary and mysterious impact of this 17th-century master in our day and age. A Film by Hans Pool and Koos de Wilt.

interviews with:

Tom Hunter, Alain de Botton, Walter Liedtke, Otto Naumann, Thomas Kaplan, Chuck Close, Philip Steadman, Peter Webber, Erwin Olaf, Joel Meyerowitz, Lawrence Weschler, Tracy Chevalier, Steve McCurry, Arthur K. Wheelock, Jonathan Janson, Philip-Lorca diCorcia, Geoffrey Batchen

Preserving our Heritage: Conservation, Restoration and Technical Research in the Mauritshuis

Vermeer-related publication

Preserving our Heritage: Conservation, Restoration and Technical Research in the Mauritshuis

by Petria Noble, Sabrina Meloni, Carol Pottasch, Peter van der Ploeg. Epco Runia

The Mauritshuis in The Hague is one of the few Dutch museums to have its own restoration workshop. Here in recent years a team of experts have restored top works by Rembrandt, Johannes Vermeer, Carel Fabritius, Frans Hals, Hans Holbein, Jan Brueghel de Oude, Peter Paul Rubens, Anthonie van Dyck and others.

This book, with an introductory chapter, describes how a painting is made and the types of technical research that can be used. The concise texts and abundant visual material make the book accessible for a wide public.

208 pages
133 colour photographs
30 b&w photographs

Frick Collection Dutch art database

Dutch Art Database

The Montias Database of 17th-Century Dutch Art Inventories

The Frick Library has provided an invaluable internet interface with the database compiled Montias during his studies. from the Frick website:

The Montias database, compiled by late Yale University Professor John Michael Montias, contains information from 1,280 inventories of goods (paintings, prints, sculpture, furniture, etc.) owned by people living in 17th century Amsterdam. Drawn from the Gemeentearchief (now known as the Stadsarchief), the actual dates of the inventories range from 1597-1681. Nearly half of the inventories were made by the Orphan Chamber for auction purposes, while almost as many were notarial death inventories for estate purposes. The remainder were bankruptcy inventories. The database includes detailed information on the 51,071 individual works of art listed in the inventories. Searches may be performed on specific artists, types of objects (painting, prints, drawings), subject matter etc. There is also extensive information on the owners, as well as on buyers and prices paid when the goods were actually in a sale. While not a complete record of all inventories in Amsterdam during this time period, the database contains a wealth of information that can elucidate patterns of buying, selling, inventorying and collecting art in Holland during the Dutch Golden Age.

Flying Fox, Vermeer Blog

Vermeer blog

The Flying Fox

Jonathan Janson, author of the Essential Vermeer, launches a blog which investigates Vermeer, current events in art history, painting technique and contemporary art.

Click here to access.

The Astronomer, Johannes Vermeer

The Musée du Louvre Astronomer travels to Minneapolis

The Louvre and the Masterpiece
Art, Minneapolis, Minnesota
October 18, 2009 - January 19, 2010

The Louvre and the Masterpiece will explore how the definition of a "masterpiece," as well as taste and connoisseurship, have changed over time. The exhibition will feature ninety-one works of art drawn from all eight of the Musée du Louvre's collection areas, spanning 4,000 years. Paintings, sculpture, decorative arts, and drawings will reflect three major themes: the changing historical and cultural definitions of a masterpiece; authenticity and connoisseurship; and the evolution of taste and scholarship. The exhibition is divided into three sections which together explore a range of thematic questions about the concept of a masterpiece. The exhibition includes Vermeer's "Astronomer."


Young Woman Seated at the Virginal, Jonathan Janson

New Vermeer Painting exhibited in New York

Young Woman Seated at a Virginal at the Metropolitan Museum of Art
January 9 - December, 2009
Metropolitan Museum of Art, New York

After its zigzag performance, the Young Woman Seated at a Virginal, reattributed in recent times to Vermeer, has bobbed up again in an unexpected place, next to the Woman with a Water Pitcher at the MET.

The Lacemaker, Johannes Vermeer

Vermeer Painting exhibited in Canada

The Louvre Museum Exhibition: 17th-Century European Masterpieces.

The Louvre will be sending about 70 artworks to Japan in 2009 for a special exhibition of 17th-century paintings, The Louvre Museum Exhibition: 17th-century European Masterpieces. The exhibition will be held at the National Museum of Western Art in Tokyo and the Kyoto Municipal Museum of Art and will include Vermeer’s dazzling little Lacemaker.

Woman Holding a Balance, Johannes Vermeer

Vermeer Ppainting exhibited in Amsterdam

Woman Holding a Balance travels to Amsterdam
11 March - 1 June 2009
Rijksmuseum, Amsterdam

The Washington National Gallery of Art will lend its Woman Holding a Balance to the Rijksmuseum in Amsterdam. The work will be displayed next to other superb works by Vermeer in the collection of the Rijksmuseum.

The Love letter, Johannes Vermeer

Vermeer Painting exhibited in Canada

Vermeer, Rembrandt and the Golden Age of Dutch Art: Masterpieces from the Rijksmuseum
May 9 - September 13, 2009
Vancouver Art Gallery

This exhibition will highlight works of art of the 17th-century Dutch painting masters of the Golden Age. It will feature well over 100 works by many of the most celebrated masters of the period such as Aelbert Cuyp, Gerard Dou, Franz Hals, Rembrandt van Rijn, Jacob van Ruisdael, Gerard ter Borch and Johannes Vermeer, as well as an extraordinary selection of decorative arts, including furniture, silver, glassware, porcelain and textiles.

This exhibition is organized in collaboration with the Rijksmuseum and will include Vermeer’s late masterpiece, The Love Letter.


Dutch landscape exhibition

National Gallery of Art, Washington D. C.
February 1 – May 3, 2009

from the NGA website:
In the 17th century, a new genre of painting—the cityscape—emerged, fostered by the booming economy of the Dutch Republic and its affluent urbanites. Images of towns and cities became expressions of enormous civic pride. This exhibition of some 48 paintings, as well as 23 maps, atlases, illustrated books, and prints, offers a comprehensive survey of the Dutch cityscape, from wide-angle panoramas depicting the urban skyline with its fortifications, windmills, and church steeples, to renderings of daily life along canals, in city streets, and in town squares. Joining Jacob van Ruisdael's celebrated Haarlem with the Bleaching Fields (c. 1670–1675) are works by some 40 Dutch masters. Primarily active in Amsterdam, Delft, and Haarlem, these artists include Gerrit Berckheyde, Aelbert Cuyp, Jan van Goyen, Jan van der Heyden, Pieter de Hooch, Hendrick Vroom, Pieter Saenredam, and Jan Steen.

The exhibition coincides with the 400th anniversary of the Dutch exploration and settlement of the Hudson River Valley.

for further information:

A Lady Writing, Johannes Vermeer

Vermeer exhibition

West Coast art lovers to see a Vermeer when the Norton Simon Museum in Pasadena, Calif., exhibits "A Lady Writing"

Nov. 7 - Feb. 2, 2009

West Coast art lovers will be offered a rare opportunity to see a Vermeer when the Norton Simon Museum in Pasadena, Calif., exhibits A Lady Writing, above, from Nov. 7 through Feb. 2, 2009. On loan from the National Gallery of Art in Washington, the painting, one of about 35 known works by Vermeer, will come to Pasadena as part of a series of exchanges between the Norton Simon foundations and the National Gallery.

visit the museum website for further information:

The Astronomer, Johannes Vermeer

Vermeer painting exhibited in Atlanta

The Louvre and the Masterpiece
The High Museum of Art, Atlanta, Georgia
October 12, 2008 - September 6, 2009

The Louvre and the Masterpiece will explore how the definition of a "masterpiece," as well as taste and connoisseurship, have changed over time. The exhibition will feature ninety-one works of art drawn from all eight of the Musée du Louvre's collection areas, spanning 4,000 years. Paintings, sculpture, decorative arts, and drawings will reflect three major themes: the changing historical and cultural definitions of a masterpiece; authenticity and connoisseurship; and the evolution of taste and scholarship. The exhibition is divided into three sections which together explore a range of thematic questions about the concept of a masterpiece. The exhibition includes Vermeer's "Astronomer." February 17, 2009 "The Card Shark" by Georges de la Tour arrives to replace Vermeer's "Astronomer."

Girl with a Pearl Earring

The Girl with a Pearl Necklace travels to Rome

Rembrandt to Vermeer. Civil Values in 17th Century Flemish and Dutch Painting
Fondazione Roma, Museo del Corso
November 11, 2008 to February 15, 2009

Representing the "Golden Century" of Flemish and Dutch art, the exhibition focuses on the development of the genre of the domestic interior, which was dedicated to family life and reflected the innovative social context and civil values of Holland in the 17th century. The 55 masterpieces on display will enable visitors to learn about the art and culture of Flanders and Holland during their "Golden Century".

For the first time in Italy, it will finally be possible to admire a large selection of works belonging the world’s most important collection of 17th-century Dutch and Flemish paintings: that of Berlin’ s Gemäldegalerie, which includes masterpieces such as Rembrandt’s The Money Changer and Vermeer’s Woman with a Pearl Necklace.

for more information click here

Vermeer-related conference at the Metropolitan Museum of Art

Grace Rainey Rodgers Auditorium, the Metropolitan Museum of Art
November 14, 2008
Lecture, 6:00 pm

from the Metropolitan Museum of Art website:

Between 1887 and 1917, thirteen paintings by Johannes Vermeer and several works wrongly attributed to him entered American collections. Continuing demand for Vermeer's rare pictures (36 are known today) created a niche market for forgers during the 1920s and 1930s, of whom the most gifted and notorious was the Dutch artist Han van Meegeren, who was active as a forger throughout most of the inter-war period. Metropolitan Museum curator Walter Liedtke (author of a new monograph on Vermeer) and independent scholar Jonathan Lopez (author of a new biography of Van Meegeren) consider the difference between a Vermeer of about 1660 and one of about 1925.

Tickets go on sale on or about September 1 Order online (after Sept. 1) at the Met's website, by phone at (212) 570-3949 by phone at (212) 570-3949, or in person at the Concerts & Lectures box office, located in the Museum's Great Hall, 1000 Fifth Avenue (at 82nd Street).

online tickets:

Vermeer: The Complete Paintings

by Walter Liedtke

Vermeer catalogue, Walter Liedtke

Vermeer catalogue

Since his rediscovery in the later half of the 19th century, Johannes Vermeer (1632–1675) has been one of the most admired and influential European painters. His extremely private life, his supposed use of a camera obscura, and the fact that his teacher remains unidentified have, until recently, encouraged a view of the "Sphinx of Delft" as an isolated genius shrouded in an air of mystery. Walter Liedtke’s new monograph reveals Vermeer’s life to be well-documented and places his work in the context of the Delft school and of Delft society as a whole. Vermeer’s many admirers will relish Liedtke’s exploration of subtleties of meaning and refinements of technique and style. Alongside the most historical approach to Vermeer to date, the annotated color catalogue of Vermeer’s complete paintings reveals a master whose rare sensibility may be described but not explained.

Walter Liedtke is Curator of European Paintings at the Metropolitan Museum of Art, New York. He has written widely on Dutch painting and the Delft school and is the author of fundamental texts including Vermeer and the Delft School (2001).

Book on Van Meegeren

Best remembered for selling a fake Vermeer to Hermann Goering during the Second World War, Han van Meegeren never admitted to creating any fakes dating from before 1937--but there have always been rumors suggesting that his career actually began much earlier than that. Drawing upon three years of archival research conducted in five nations and interviews with the descendants of Van Meegeren’s partners in crime, Jonathan Lopez reveals that Van Meegeren worked virtually his entire adult life turning out bogus old masters for a ring of art-world intriguers operating out of London and Berlin. Major dealers like Sir Joseph Duveen were stung by these forgeries, as was the great Pittsburgh banker Andrew Mellon, who bought two of Van Meegeren's fake Vermeers during the 1920s. As Koen Kleijn of De Groene Amsterdammer has remarked, "The Man Who Made Vermeers shatters the popular image of Han van Meegeren as a lone gunman or picaresque rogue. Jonathan Lopez reveals the master forger as an arch-opportunist, a cunning liar, and a fervent sympathizer of the fascist cause from as early as 1928. Deftly reconstructing an insidious network of illicit trade in the art market's underworld, Lopez allows few reputations to emerge unscathed in this gripping and delicious book."

about the author:

JONATHAN LOPEZ's writings on art and history appear frequently in Apollo: The International Magazine of Art and Antiques, published in London. The Man Who Made Vermeers grew out of an article that originally appeared in Dutch in De Groene Amsterdammer. Lopez lives with his wife, an art historian and critic, in Manhattan

Vermeer and the Delft Style  exhibition

6 Vermeers travel to Japan

Vermeer and the Delft Style
Tokyo Metropolitan Art Museum in Ueno-koen
August 2 - December 14, 2008

Vermeer and the Delft Style features 6 rare masterpieces by Johannes Vermeer and other paintings by his contemporaries affording viewers a suggestive glance of Golden Age of Dutch Art.  There has been no occasion, where these masterpieces come together in one exhibition ever hosted in Asia and only three of the Vermeer’s have been formally exhibited.The Vermeer paintings included in the exhibition are: The Little Street, Diana and her Companions, The Girl with the Wineglass, Woman with a Lute,  Christ in the House of Martha and Mary and the recently re-attributed A Young Woman Seated at the Virginals which is rarely on public view. The exhibition also features the miniscule masterpiece View of Delft by Carel Fabritius, a splendid view of Delft by Van der Heyden and two fine De Hooch’s.

further details:

Vermeer Lecture at the Vermeer Centrum, Delft

Thursday, 21 February, 2008, 8 p.m

In a lecture at the Vermeer Center in Delft, Ms Karin H. Jense will explore the musical culture of the 1650s basing her observations of the paintings of Vermeer with musical themes. Period music will also performed allowing the audience to experience the atmosphere of the times and specifically of the compositions of Vermeer.

Ms Jense has studied musical education, harpsichord and choir conducting at the Koninklijk Conservatorium Den Haag (Royal Conservatory The Hague) and has been actively engaged as a music lecturer and advisor for thirty years and currently gives regular audio lectures.

further information:


015 – 256 53 06 (D. Mostert-Bok)
or 06-33704508 (C. J. Oerlemans).

Vermeer's Family Secrets

by Benjam Binstock

Vermeer's Family Secrets, Benjamin Binstock

New book on Vermeer

Johannes Vermeer, one of the greatest Dutch painters and for some the single greatest painter of all, produced a remarkably small corpus of work. In Vermeer's Family Secrets, Benjamin Binstock revolutionizes how we think about Vermeer's work and life. Vermeer, "the Sphinx of Delft," is famously a mystery in art: despite the common claim that little is known of his biography, there is in fact an abundance of fascinating information about Vermeer’s life that Binstock brings to bear on Vermeer’s art for the first time; he also offers new interpretations of several key documents pertaining to Vermeer that have been misunderstood. Lavishly illustrated with more than 180 black and white images and more than sixty color plates, the book also includes a remarkable color gatefold spread that presents the entirety of Vermeer's oeuvre arranged in chronological order in 1/20 scale, demonstrating his gradual formal and conceptual development. No book on Vermeer has ever done this kind of visual comparison of his complete output. Like Poe's purloined letter, Vermeer's secrets are sometimes out in the open where everyone can see them. Benjamin Binstock shows us where to look. Piecing together evidence, the tools of art history, and his own intuitive skills, he gives us for the first time a history of Vermeer's work in light of Vermeer's life.

On almost every page of Vermeer's Family Secrets, there is a perception or an adjustment that rethinks what we know about Vermeer, his oeuvre, Dutch painting, and Western Art. Perhaps the most arresting revelation of Vermeer's Family Secrets is the final one: In response to inconsistencies in technique, materials, and artistic level, Binstock posits that several of the paintings accepted as canonical works by Vermeer, are in fact not by Vermeer at all but by his eldest daughter, Maria. How he argues this is one of the book's many pleasures.

Lady Standing at the Virginal,  Johannes Vermeer

Vermeer's Lady Standing at the Virginal part of a special exhibition

Love is in the air at the Laing Art Gallery
Newcastle upon Tyne, U.K.
19 April – 13 July 2008

Love is in the air at the Laing Art Gallery, as flirtation, disappointment and intimacy are among the themes explored in a new exhibition. Love is a new National Gallery touring exhibition, which looks at the ways artists have responded to the pains and pleasures of love over the centuries. It features work by artists including Tracey Emin, David Hockney, Johannes Vermeer (Lady Standing at the Virginal) and Marc Chagall. The Laing’s Marble Hall will also be home to Marc Quinn’s spectacular sculpture, Kiss.

New Bridge Street, Newcastle upon Tyne NE1 8AG

(0191) 232 7734

(0191) 222 0952

Monday to Saturday 10am - 5pm, Sunday 2pm - 5pm, Closed: 25 & 26 December & 1 January.

museum website:

exhibition link:

Talks programme:
A free programme of talks will take place to accompany the National Gallery touring exhibition, Love. No booking is required.

Wednesday 23 April, 12.30-1pm
Love Relationships, featuring Vermeer, Wright of Derby, Stanley Spencer, and Marc Quinn
With Sarah Richardson, Keeper of Fine Art at the Laing Art Gallery

Wednesday 30 April, 12.30-1pm
Romantic Love, featuring Cranach, Claude, Turner, Chagall, Emin, and Hockney
With Sarah Richardson, Keeper of Fine Art at the Laing Art Gallery

Wednesday 7 May, 12.30-1pm
Pre-Raphaelite Women
With Marie-Therese Mayne, Assistant Keeper of Fine Art at the Laing Art Gallery

Wednesday 14 May, 12.30-1pm
Love: An Artist’s Perspective
With John Dummett, whose installation Full Bloom will be on show at the Laing on the evening of Saturday 17 May.

Wednesday 21 May, 12.30 – 1pm
A Public Display of Affection
With artist Manuel Saiz whose installation Public Display of Affection will be at the Laing from 17-25 May.

Wednesday 28 May, 12.30-1pm
Love Stories
With Chris Bostock, Storyteller.

Wednesday 4 June, 12.30 – 1.15pm
Love is a Mystery
With Serena Cant, Art Historian. Talk in Sign-Supported English.

Wednesday 11 June, 12.30 – 1.15pm
Love in the Giardini: Sophie Calle and Tracey Emin at the Venice Bienalle 2007.
With Peter Quinn, Art Historian.

Wednesday 18 June, 12.30 – 1.15pm
Are These Pictures About Love?
With Paul Usherwood, Art Historian.

Wednesday 25 June, 12.30 – 1.15pm
Happy Ever After
With Serena Cant, Art Historian. Talk in Sign-Supported English.

Vermeer Center, Delft

Vermeer Center reopens, Delft

Although the newly-built Vermeer Center of Delft was quickly overcome by economic woes, it now seems destined to reopen. On the evening of 11th December, when the citizens of Delft gather in Market Place for the traditional Lichtjesavond ("Lights' evening") the Center will open free of charge to Delft citizens.
From 2nd January 2008 it wi`ll be opened to the public.

The center offers a valid educational starting point for the thousands visitors who flock to Vermeer's native city which, in fact, has not a single original painting by the native artist. Keep in touch with the Center's future by signing up free of the Essential Vermeer Newsletter or by clicking on the Center's website listed below.

Voldersgracht 21
NL 2611 Delft
tel. 015 213 8588




New Vermeer-related book

In this impressive and informative work, the artist's origins and home environment are revealed and his paintings are displayed and discussed within the context of time alongside a history of the influences and repercussions of this master's art.

This lavishly illustrated and beautifully bound edition includes reproductions of all of Vermeer's paintings, many of the works of his contemporaries, and documents relating to his life and city, Delft.

In the hands of an award-winning historian, Vermeer’s dazzling paintings become windows that reveal how daily life and thought—from Delft to Beijing—were transformed in the seventeenth century, when the world first became global.

"Vermeer's Hat is a deftly eclectic book, in which Timothy Brook uses details drawn from the great painter's work as a series of entry points to the widest circles of world trade and cultural exchange in the seventeenth century. From the epicenter of Delft, Brook takes his readers on a journey that encompasses Chinese porcelain and beaver pelts, global temperatures and firearms, shipwrecked sailors and their companions, silver mines and Manila galleons. It is a book full of surprising pleasures."- Jonathan Spence, author of The Death of Woman Wang, In Search of Modern China and The Memory Palace of Matteo Ricci

Vermeer's Light: Poems 1996-2006

by George Bowering

Vermeer's Light: Poems 1996-2006, George Bowering

Poems on Vermeer

Canada's first poet laureate, Bowering is both highly skilled in the formal aspects of poetry and perfectly accessible to the average reader. He is one of those old-school poets whose command of meter makes its employment seem effortless. Although some of his poems are in familiar forms and such self-invented nonce forms as those of the alphabet poems that make up part of this collection, his strong formal sense shines through even in free-verse poems, which never drag or digress but move with unrelenting, though not relentless, certainty. As for the accessibility, he doesn't bow to the fashion of substituting self-disclosure for self-awareness, and his poems are not so private as to be hermetic. In them we follow the recent life events of a man widowed after decades of marriage who finds new love and companionship, who mourns the deaths of friends and colleagues, and who finds life still rich and rewarding in its winter season. A delightful collection that may inspire readers to seek out Bowering's earlier work.

In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias

edited by Amy Golahny, Mia Mochizuki and Lisa


In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias

New Vermeer-related book

Collected in memory of the Vermeer scholar and Yale economist J. Michael Montias, these essays take into account the latest trends in the field and provide new data on a wide range of topics in Netherlandish art. Themes include the reception of paintings and architecture; art collecting as interpreted through inventories and other documents that reveal modes of display; relationships between patrons and painters; recently found or attributed works of art; artists as teachers; and the art market. Taken together, these focused studies offer fresh perspectives on the historical appreciation and evaluation of art. Drawing upon J.M. Montias’ contribution to art history, these 32 essays present new analyses, attributions, and documents on Netherlandish art and material culture – including the work of Vermeer, Rubens, Rembrandt, van Eyck and others – by internationally known scholars of art history and the economics of art.

Of particular interest are those essays directly related to Vermeer:

  1. Albert Blankert, "The Case of Han van Meegeren's Fake Vermeer 'Supper at Erasmus' Reconsidered"
  2. Yoriko Kobayashi-Sato, "Vermeer and the Use of Perspective"
  3. Herman Roodenburg, "Visiting Vermeer: Performing Civility"


by Donald, P.H. Eaton

Faith, Donald Eaton

New Vermeer-related novel

In April of 1653 Joannis Vermeer married Catharina Bolnes. He was twenty and she, just twenty-one. Their marriage was opposed by her mother and the Catholic church. Vermeer was in the final year of his long apprenticeship and his ideas about art and its meaning were just forming. FAITH is the story of three winter months before that marriage--the most important months of his short life.

author's statement:
The novel, FAITH, started out as a puzzle and grew into something far more comprehensive and profound. My original idea was to write about Vermeer’s wife, Catharina, and her efforts to regain the painting, The Allegory of Art, after his untimely death. To do this, I knew I would have to go back to the beginning and explain how a Protestant innkeeper’s son could meet, love and marry the daughter of a wealthy Catholic woman. Nothing at all is known about these events except that they actually happened. That was the first puzzle. In order to solve it, I would have to connect the young artist to his world: Delft in Holland’s remarkable Golden Age. This led to further puzzles: With whom did he study? Who influenced him? Where did he paint? The list goes on and I was determined to solve these questions in an accurate and probable way. Apart from building a small but comprehensive Vermeer library and spending countless hours on the web, I traveled to Delft (exactly one year ago this month) and walked his streets and ‘felt’ his presence. These impressions, I trust, are captured in the novel.

However, FAITH is not a mere finger exercise in Art History or biography. The people involved in this story were artists, collectors, patrons, agents for powerful corporations, merchants, soldiers and priests, all driven by their personal passions and the heady power of their time. That world and those people form the background for FAITH, but it is a genuine and challenging love story that is at the center of it, as it should be.

In the end, I feel that I succeeded in exploring that world, but at a cost. One novel could not hold it all and do justice to it. FAITH would have to be the first in a series and I knew that I could write them. So, as it turns out, FAITH covers not ‘years’ in Vermeer’s life but only two and a half winter months at the end of 1652. Still, as a single novel, it is complete and all of the elements mentioned above are explored in it. The second novel in the series, FIRE, will cover his marriage, entry into the Guild of Saint Luke, several early paintings including Saint Praxedis and the death of Carel Fabritius. If I live long enough, the other five: LIGHT, IMAGE, DARK, SILENCE and LOSS might also get written. One can only hope.

The Milkmaid, Johannes Vermeer

Exceptional loan of the Rijksmuseum's Milkmaid to Japan

Milkmaid by Vermeer and Dutch Genre Painting - Masterworks from the Rijksmuseum Amsterdam

September 26 - December 17, 2007
The National Art Center, Tokyo

Johannes Vermeer's The Kitchen Maid, also affectionately known as The Milkmaid, is being loaned temporarily to The National Art Center in Tokyo, Japan, where it will be on display from 26 September until 17 December 2007 as part of the exhibition 'Milkmaid by Vermeer and Dutch Genre Painting'. Dutch Genre Painting from the 17-19 century introduced with 116 masterworks from the Rijksmuseum Amsterdam, featuring Vermeer's Milkmaid as a centerpiece.

check the special exhibition website (Japanese only)

The National Art Center, Tokyo
September 26 - December 17, 2007
7-22-2 Roppongi Minato-ku
Tokyo, Japan

direct inquiries to:
The National Art Center, Tokyo
7-22-2 Roppongi, Minato-ku, Tokyo
Japan 106-8558

Painted light: the still life paintings of Willem Kalf

Exhibition of a great Dutch still life painter

GEMALTES LICHT: DIE STILLEBEN VON WILLEM KALF (1619-1693) (Painted light: the still life paintings of Willem Kalf (1619-93))
Wilhelmstraße 18
D-52070 Aachen
8 March 2007 – 3 June 2007

from the website of Museum Boijmans Van Beuningen:
Willem Kalf may be the most important painter of still life pictures of the Golden Age. But, oddly enough, he is not that well-known. Kalf was born in 1619 in Rotterdam, and left for Paris at a young age. There, he painted interiors of barns, a theme typical of Rotterdam, which made him famous in Paris. After his return, in 1651, he married a wealthy and literary gifted lady in Hoorn. After which he lived in Amsterdam until his death in 1693.

Here, he painted still life pictures of very valuable objects, that sparkled against a dark background. It is as if the silver goblets and platters, the flashing Venetian glasses and expensive Chinese plates want to enchant the viewer with their mysterious splendor. Museum Boijmans Van Beuningen presents Willem Kalf for the first time with thirty paintings, mainly from foreign museums.

Gemaltes Licht: die Stilleben von Willem Kalf (1619-1693)
Includes essays by seven authors
c. 160 pp., with ca. 125 color and 50 black-and-white illustrations
24 x 30 cm, paperbound
Deutscher Kunstverlag, Berlin
ISBN 3-422-06673-X

tel. +49 241 479 800

fax: +49 241 37075


Rotterdam, Museum Boijmans Van Beuningen (25 November 2006-18 February 2007)
Aachen, Suermondt-Ludwig Museum (8 March-3 June 2007)

Exhibition of a Dutch landscape painter

Rijksmuseum, Amsterdam
2 February 2007 – 30 April 2007

Peter C. Sutton, executive director of the Bruce Museum

In 2007 the Rijksmuseum presents the first monographic exhibition on Jan van der Heyden in the Netherlands since 1937. Van der Heyden was one of the leading 17th-century painters of Dutch cityscapes. He was also fascinated by firefighting and is still remembered to this day by many as the inventor of the fire hose. The Rijksmuseum exhibition focuses on the diversity of Van der Heyden, who became known as the Dutch Leonardo da Vinci. The first part features a selection of sixteen of his finest paintings, on loan from various museums and private collections in Europe and the United States. The second part concentrates on his dramatic sketches and prints of fires in the city. In addition, his famous book on firefighting, published in 1690, is displayed, alongside an early example of his fire hose.

Eye for detail
Jan van der Heyden (Gorinchem 1637-1712 Amsterdam) was one of the leading pioneers of Dutch cityscape painting in the 17th century. His depictions of canals, churches, public squares, castles and courtyards reveal a remarkable eye for detail. He used sharp colours, with subtle nuances of tone and atmosphere to portray these scenes, often creating striking perspective constructions.

Idealized cityscapes
Van der Heyden's paintings were already famous in his own day for their wealth of detail. Despite the apparent natural effect of the depiction, for which he developed innovative techniques, topographical accuracy was not Van der Heyden's primary concern. He often took buildings out of their original setting and placed them in an entirely new context. A composition had above all to convey the atmosphere of the location. As the inventor of the architectural capriccio, a depiction of a fictional location, Van der Heyden was a major precursor of 18th-century Italian vedute artists such as the Venetian Canaletto and Bernardo Bellotto.

Besides cityscapes of Amsterdam and the Rhineland, Van der Heyden also painted landscapes and several still lifes, some of which are shown in the exhibition.

Jan van der Heyden (1637 - 1712)
Peter C. Sutton, lead author. Essays: Jonathan Bikker and Arie Wallert. Catalogue entries: Taco Dibbits, Marijn Schapelhouman, and Norbert Middelkoop
250 illustrated pages, including 130 paintings, drawings and figures
New Haven, Yale University Press

Greenwich, Connecticut, The Bruce Museum (16 September 2006-10 January 2007)
Amsterdam, Rijksmuseum (2 February-30 April 2007)

Postbus 74888
1070 DN Amsterdam

tel. +31 20 674 7000
fax: +31 20 674 7001


(available at

Vermeer-related publication

How to Paint Your Own Vermeer: Recapturing Materials and Methods of a Seventeenth-Century Master

by Jonathan Janson
2006 (289 page)

Which materials and techniques did Johannes Vermeer use to create his masterpieces? Is it still possible to emulate those methods today? Contemporary American painter Jonathan Janson offers straightforward, practical advice on how to reproduce Vermeer's day-to-day working procedures as closely as possible in your own studio. Detailed explanations document each and every step, from the stretching of the canvas to the three-step method used by Vermeer and his contemporaries including indispensable historical and theoretical background regarding the art and craft of Northern 17th-century painters.

In the first part, Vermeer's palette, drawing, pigments, brushwork, mediums, glazing, grounds are thoroughly analyzed as they are gradually encountered during the painting process The second part contains insights into crucial stylistic components which, together, make a Vermeer a Vermeer, such as color, composition, camera obscura vision and perspective.


Exhibition of Vermeer's Lady Seated at a Virginal in Modena, Italy

Galleria Estense
Modena, Italy
April 15 - July 15, 2006

curator: Bert Meijer

After the Love Letter in Rome, another Vermeer will be traveling to Italy. The London Lady Seated at a Virginal and other paintings from Delft will be exhibited at the Galleria Estense in Modena. The initiative is promoted by the superintendent of the gallery Maria Grazia Bernardini in collaboration with Bert Meijer, noted specialist active in the Dutch Institute of Florence. The exhibit will feature the works of about 25 other Dutch masters in the collections from The Hague, London, Vienna, Amsterdam, Washington, Los Angeles, Boston and Florence. The exhibit will be organized in three sections. The first is dedicated to Delft and its immediate environs. The second presents various facets of daily life of the second half of the 17th century focused around works of Pieter de Hooch. The third section features Vermeer's late Lady Seated at the Virginals with other pictures of analogous theme.

Click here for a special exhibit report.

see exhibit website:

Vermeer exhibition logo

Vermeer's Love Letter goes to Rome

Galleria de arte antica de Palazzo Barberini, Rome
April 27 to 18 June, 2006

Vermeer's late Love Letter will be exhibited at Galleria di Arte Antica di Palazzo Barberini from April 26 to the June 27, 2006. The exhibition will be curated by Angela Negro and Anna lo Bianco.

more information at:

Exhibition of the greatest 17th-century Dutch landscape painter

Royal Academy, Piccadilly, London
until 4 June 2006

from the museum's website:
Jacob van Ruisdael was one of the greatest painters of the Golden Age of Dutch painting. He was born into abject poverty in 1628 or 1629 and much of his life is shrouded in mystery. Raised in Haarlem he moved to Amsterdam and died there in 1682. In the course of his life Ruisdael broke with many of the traditions of Dutch painting and became a figure of great influence. He is celebrated for faithfully recording nature while responding to it imaginatively. His works are also considered to be fine meditations on human experience in a world shaped by constant cycles of growth and decay.

Ruisdael's impact can be seen in the Barbizon School of France, the American Hudson River School, and in the work of John Constable, England's own leading landscape painter. To coincide with this exhibition the John Madejski Fine Rooms have been hung with a selection of landscape paintings from the Royal Academy's Permanent Collection. These works can be seen free of charge during Jacob van Ruisdael: Master of Landscape.

catalogue available at

This exhibition has been jointly organized by the Royal Academy of Arts, London, the Los Angeles County Museum of Art and the Philadelphia Museum of Art.


Exhibition of Dutch painting

curator: Görel Cavalli-Björkman
Södra Blasieholmshamnen
22 September 2005 to 8 January 2006

The 'realist' paintings of the 17th-c. Netherlands offer a fascinating experience to visitors to this autumn's major exhibition at the Nationalmuseum devoted to The Dutch Golden Age. Masterpieces by Rembrandt, Frans Hals and their contemporaries will be on show from 22 September 2005.The core of the exhibition is provided by the museum's own collections of Dutch paintings and drawings. These have been enriched by loans from other museums, most notably from the Rijksmuseum in Amsterdam, Statens Museum for Kunst in Copenhagen and the Ashmolean Museum in Oxford. The exhibition comprises some 300 works presented thematically in four galleries and six smaller rooms.

Södra Blasieholmshamnen
Phone +46 8 5195 4300, fax +46 8 5195 4436

website exhibiton information:

Vermeer And Plato: Painting The Ideal

by Robert H. Huerta

Enchanting The Eye: Dutch Paintings Of The Golden Age, RObert H. Huerta

New Vermeer-related book

In a study that sweeps from Classical Antiquity to the seventeenth century, Robert D. Huerta explores the common intellectual threads that link the art of Johannes Vermeer to the philosophy of Plato. Examining the work of luminaries such as Plotinus, Nicholas of Cusa, Saint Augustine, Ficino, Raphael, Keller, Galileo, Descartes, and Hoydens, Huerta argues that the concurrence of idealism and naturalism in Vermeer's art reflects the Dutch master's assimilation of Platonic and classical ideals, concepts that were part of the Renaissance revival of classical thought. Pursuing a Platonic path, Vermeer used his paintings as a visual dialectic, as part of his program to create a physical instantiation of the Ideal. Illustrated. Robert D. Huerta is an independent historian, focusing on the intersection between art and science during the early modern period.

from Bucknell University website

Exhibiton of Vermeer's contemporary Frans van Mieris

FRANS VAN MIERIS (1635-1681)
Mauritshuis, The Hague
from 1 October 2005 – 22 January 2006

With utmost diligence and patience Van Mieris painted interiors, scenes from daily life and portraits, primarily in a small format. He made likenesses of well-to-do burghers, famous or important residents of Leiden, and self-portraits and portraits of his wife Cunera van der Cock. He also produced a few history pieces and allegorical scenes. The strength of his work lies in his subtle and remarkable painting technique and palette. The way in which he depicted the various fabrics, materials and textures is nothing short of miraculous: an almost perfect miniature rendering of reality.

Korte Vijverberg 8
NL-2513 AB The Hague

T +31 70 302 3456
F +31 70 365 3819


other venue:
National Gallery of Art, Washington (26 February-21 May 2006)

Exhibition with Vermeer's Music Lesson

The Royal Collection, Buckingham Palace
11 February - 30 October, 2005

museum info:
The Royal Collection contains one of the world's finest groups of Dutch 17th-c. paintings. Among the most enduringly popular images in Western Art, these pictures have for centuries been admired for their harmonious compositions, close observation of detail, subtle light effects and meticulous finish. The 51 outstanding examples selected for the exhibition embrace genre scenes, portraits, still lifes, history paintings, landscapes and marinescapes. They include works by the great masters of the period, among them Rembrandt's jewel-like Christ and St Mary Magdalen at the Tomb and his Self-Portrait of 1642, luminous landscapes by Aelbert Cuyp, and Johannes Vermeer's enigmatic A Lady at the Virginals (The Music Lesson).

book tickets online:
or telephone (+44) (0) 20 7766 7301
Tickets may also be bought in advance from The Queen's Gallery, Buckingham Palace.

web information:

Love Letter, Johannes Vermeer

Exhibition with Vermeer's Love Letter

National Gallery of Victoria
Melbourne, Australia
24 June to 2 October 20, 2005

museum info:
The most comprehensive display of 17th-c. Dutch masterpieces is on its way to Melbourne for the second exhibition in the Melbourne Winter Masterpieces series.

Following the success of The Impressionists in 2004, Dutch Masters from the Rijksmuseum, Amsterdam will offer audiences the richest survey of 17 th century Dutch art ever staged in Australia. Opening Friday 24 June, the exhibition brings together more than 100 sumptuous works and decorative objects by great artists such as Rembrandt, Frans Hals, Pieter de Hooch, and Jan Steen.The exhibition includes Vermeer's late masterpiece, The Love Letter.

Victoria Museum home page:

For information and bookings:
tel.: + 61 3 8662 1555

A fully illustrated exhibition catalogue will be available for purchase:

check here for further information on opening time etc.

Art of Painting, Johannes Vermeer

Special exhibition with Vermeer's Art of Painting

Mauritshuis, The Hague
25 March - 26 June, 2005

museum info:
Very exceptionally, one of the most celebrated paintings by Vermeer, The Art of Painting, c 1666-8, from the collection of the Kunsthistorisches Museum in Vienna will be on loan for three months. Vermeer’s careful rendering of the details and different surface textures as well as the subtle gradations of light are testimonies to Vermeer’s supreme accomplishments as a painter.

In 1996 the Mauritshuis mounted a survey exhibition of Vermeer’s work. Unfortunately, the condition of The Art of Painting was not good enough to travel to the show. In the meantime, the painting has been restored, and nine years later Vermeer's showpiece can be seen to full advantage in The Hague.


web information:

Young Woman at the Virginals, attributed to Johannes Vermeer

Will Vermeer's Young Woman at the Virginals feel at home in Las Vegas?

according to Arts.telegraph*
Las Vegas casino owner Steve Wynn is revealed this week as the mystery buyer of Vermeer's A Young Woman Seated at the Virginals at Sotheby's last July for £16.2 million. On Thursday (Arpil 28), he opens Wynn, Las Vegas, a new $2.7 billion resort complete with golf course, lakes, a fake mountain and an art gallery in which the tiny painting will be exhibited. Sotheby's spent years trying to establish that the painting, previously dismissed as a fake, was an original. Even then, not everyone was convinced. After the sale, Sotheby's described the buyer only as "anonymous," but its re-appearance in Las Vegas confirms that it was Wynn who took the gamble.

more about Vermeer's brand new home**
The strip's newest and most expensive casino resort is just days away from opening its doors. Wynn, Las Vegas is a 2.7 billion dollar resort. It will have more than 27-hundred rooms. The resort features a large, man-made mountain in the front of the hotel, with huge waterfalls facing inwards. That structure alone cost an estimated 130-million dollars to build.

Wynn, Las Vegas (the name of the new casino) will also feature a Ferrari-Maserati dealership inside. As for entertainment, Franco Dragone will put on a multi-million water-themed production called "La Reve." The two-thousand-plus theater-in-the-round includes a one-million gallon performance pool that doubles as a stage. Wynn will include 18 new restaurants and bars overseen by celebrity chefs.

* from:
Market news: Vermeer gamble
Arts.telegraph, 25/04/2005

Wynn, Las Vegas Only A Few Days Away From Opening
April 27, 2005, 07:46 PM

Gerard Ter Borch
Arthur K. Wheelock

Exhibition of Vermeer's contemporary

The Detroit Institute of Arts (DIA)
Feb. 27– May 22, 2005

(in Detroit this exhibit is organized by George Keyes, DIA chief curator and curator of European paintings)

museum information:
Gerard ter Borch is one of the most celebrated of all seventeenth-century Dutch painters, yet remarkably, no exhibition in the United States has ever focused on his work. To assess his important oeuvre, the American Federation of Arts and the National Gallery of Art are organizing an exhibition of this great master’s paintings. Gerard ter Borch will comprise approximately forty-five paintings, including Ter Borch’s most striking early pictures from the 1630’s, the mid-career genre paintings for which he is most famous, depictions of historical events, and the small and delicate portraits that brought the artist prosperity throughout his professional life.

This exhibition will not only give museum visitors in the United States their first opportunity to see a broad overview of Ter Borch’s work, but will also result in the first major English-language publication on the artist. The exhibition catalogue, to be published by the American Federation of Arts and the National Gallery of Art, will include an essay by Arthur K. Wheelock, Jr, Curator of Northern Baroque Paintings at the National Gallery of Art, Washington, on Ter Borch’s life and work; a study of the modernity of Ter Borch’s paintings by Alison McNeil Kettering, Professor of Art History at Carleton College; and an examination of Ter Borch’s painting technique by Arie Wallert, Conservator of Paintings at the Rijksmuseum, Amsterdam. In addition, each painting in the exhibition will be illustrated and discussed in a separate entry.

Washington DC 20565
tel.: +1 202 737 4215

other venues:
National Gallery of Art
Constitution Avenue NW
November 7, 2004 - January 30, 2005

reccomended reading

Carel Fabritius 1622 - 1654
Frederik J. Duparc, et al

Exhibition of Vermeer's contemporary

Staatliches Museum Schwerin, Schwerin
29 January 2005 – 16 May 2005

Kornelia von Berswordt-Walrabe, Frits Duparc, Peter van der Ploeg, Gero Seelig and Ariane van Suchtelen.

museum press release, January 2005:
In collaboration with the Mauritshuis The Hague, the Staatliches Museum Schwerin for the first time shows the complete known oeuvre of Fabritius, which consists of 14 paintings. His paintings, scattered all over the world, are highlights of the collections of which they are a part. This exhibition affords the singular opportunity of a synopsis of paintings which feature in collections in Boston, Los Angeles, London, Moscow, Warsaw, Amsterdam, The Hague, Rotterdam, Salzburg, Munich, Hannover, and Schwerin.

Carel Fabritius, a pupil of Rembrandt, was undoubtedly one of the most ingenious and versatile painters of the Dutch 17th century. His work had a decisive influence on Johannes Vermeer, Pieter de Hooch and Emanuel de Witte. The explosion of the municipal arsenal in Delft in 1654 not only took the painter's life but destroyed many of his work as well. Masterpieces such as The Goldfinch, The Sentry and the View in Delft, with a musical instrument seller's stall, rank among the most handsome and famous of Dutch paintings. Fabritius' complete (modest) oeuvre will be brought together in cooperation with the Staatliches Museum in Schwerin.

Almost half of these works have been attributed to Fabritius only after the publication of Christopher Brown’s catalogue raisonée in 1981 and are presented together for the first time in the exhibition catalogue. The catalogue includes a comprehensive essay describing the life and work of the artist, a text on his means of composition as well as entries on every single painting. All paintings are illustrated in full colour. His connection to Rembrandt is assessed and the influence on the Delft School discussed. The book is published in English, German and Dutch.

Staatliches Museum Schwerin
Alter Garten 3
D-19055 Schwerin

tel. +49 385 5958 119
fax: +49 385 563 090

Exhibition of Dutch trompe-l'oeil painter at the Mauritshuis

Mauritshuis, The Hague
4 February - 15 May, 2005

museum info:
The originally Flemish painter Gysbrechts entered the service of the Danish court in 1668. In the following four years he produced a unique series of trompe-l'oeil paintings for King Frederik III and his successor Christiaan V. While various seventeenth-century artists attempted to paint the odd trompe l'œil representation, Gysbrechts made it his specialty. His partially open wall cabinets, letter racks, turned-back cloths and hunting still lifes ingeniously deceive the viewer's eye.

catalogue available (Dutch only)


web information:

Lacemaker, Johannes Vermeer

Exhibition with Vermeer's The Woman with a Lute, A Lady Writing, The Geographer, The Love Letter and The Lacemaker

Der zauber des alltäglichen: Holländische malerei von Adriaen Brouwer bis Johannes Vermeer
(The magic of the ordinary: Dutch painting from Adriaen Brouwer to Johannes Vermeer)

from the museum website:
Elegant ladies in satin dresses, maids in starched bonnets, and pensive scholars in their studies, there is hardly a period we seem to know more about than life in the Golden Age. Yet the well-ordered world of the Dutch burghers has a flip side where the lady of the house is drinking wine in broad daylight and an uncouth peasant is pulling disgusted faces. This exhibition presents the great variety of subjects and meanings of the kind of painting so unsatisfactorily classed as genre painting.

Key works in the collections of the Museum Boijmans Van Beuningen in Rotterdam, longstanding partner of many successful joint projects, and of the Städel itself form the basis on which a new generic concept is to be developed. Dismissed by contemporary art critics, these works were so popular with audiences at the time that painters even specialised in the production of such art. Well-known artists like Jan Vermeer, Adriaen Brouwer and Jan Steen developed their own styles and storylines, which fascinate viewers to this day and whose comic details charm us into laughter.

Among the painters in the exhibition are: Frans van Mieris, Adriaen Brouwer, Adriaen van Ostade, Gerrit Dou, Gerard ter Borch, Jan Steen, Pieter de Hooch and Gabriel Metsu.

Städelsches Kunstinstitut und Städtische Galerie
Dürerstrasse 2
D-60596 Frankfurt am Main

tel.: +49 69 605 098 200
fax: +49 69 610 163

In collaboration with the Museum Boijmans Van Beuningen, Rotterdam

click here and visit the exhibition website

Vermeer lecture

Presented by Barbara Johnston - adjunct professor of art history, Virginia
Commonwealth University
Monday, April 4, 7:30 p.m., Williamsburg Library Theatre, 515 Scotland Street, Williamsburg, Virginia

To look at a painting by Jan Vermeer is to enter an enchanted world of silent women and glowing light. The preeminent painter of women in a society fascinated by them, Vermeer's small, intimate paintings have a unique quality that sets them apart from the work of his contemporaries. From the virtuous kitchen maid to the dutiful housewife, Vermeer's women occupy a world of their own, a world of serenity and order that was the ideal of womanhood in 17th-c. Holland. But things are not always as they seem, for Vermeer was a master of subtext, and in each painting, he has given us clues to help us understand the inner life of his ladies. By examining these works, we come to realize that a great deal lies beneath the serene surfaces Vermeer's women present to the world.

This Century Art Gallery and the library continues their popular art-lecture series which is made possible through the Gallery's partnership program with the Virginia Museum of Fine Arts. A reception provided by This Century Art Gallery will follow.

Looking Over Vermeer's Shoulder
The complete book on the technique and studio practices of Johannes Vermeer
2nd edition
eBook / PDF
+300 color illus.
Jan., 2016

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