Fanny Eaton (1861) Fine Art Print by Joanna Boyce Wells
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In the annals of art history, few names evoke as much intrigue and admiration as that of Johannes Vermeer. The works of enigmatic 17th-century Dutch painter, with a gift for capturing the most simple of moments, have been revered for their timeless beauty and technical brilliance.
While Vermeer’s works received some recognition during his lifetime, he was not widely celebrated like other artists of his time. It is believed that he worked in relative obscurity, focusing on producing a relatively small number of meticulously crafted paintings. Even so, his legacy as a master artist of the Baroque Style and Dutch Golden Age is a testament to his timeless talent.
So who was this elusive artist, and how did his introversion and unique mastery of light and shadow come to define his extraordinary oeuvre?
The Astronomer, c 1668 · Oil on Canvas · 50h x 45w (cm) · Louvre Museum, Paris, France
In the quaint town of Delft, Netherlands, Johannes Vermeer was born in 1632, son of a silk weaver turned art dealer. Although not much is known about his early life, it is believed that he came from a modest background.
Raised in a world where art and commerce intertwined like ivy, the young Vermeer he inherited the family’s art dealing business, after his father’s death in 1652, a business burdened with debt. Balancing this responsibility with his artistic aspirations proved to be a challenging task.
Nestled within the cobblestone streets and towering steeples, Delft was a nurturing cradle for budding talents like Vermeer. Under the tutelage of a local master, whose identity remains unknown, Vermeer honed his skills. Carel Fabritius, the Dutch master painter and pupil of Rembrandt van Rijn, is often cited as a possible mentor for Vermeer, however this is up for much debate. This association, whether direct or indirect, contributed to Vermeer’s artistic growth and by the December 1653, Vermeer had established himself as an independent artist and member of the Guild of Saint Luke, a trade association for painters.
In 1653, Vermeer’s life took a significant turn with his marriage to Catharina Bolnes, a Catholic woman from a wealthy merchant family. Initially, Vermeer faced opposition from his new mother-in-law, Maria Thins, who was concerned about their differing wealth. In order to proceed with the marriage, Vermeer converted to Catholicism on April 5th. The support of Leonaert Bramer, a Catholic artist, played a crucial role in convincing Maria to drop her objections. Vermeer’s conversion, as noted by art historian Walter Liedtke, appeared to be a sincere and wholehearted choice.
Embracing their new chapter, Vermeer and his wife found themselves residing in the opulent embrace of Thins’ spacious house on Oude Langendijk. It was within these walls that they welcomed a large brood of children—fifteen, to be exact—however four were tragically lost before the age of baptism.
Within the confines of Thins’ home, Vermeer established his sanctuary of creativity on the second floor, converting the front room into his studio. Like a cherished secret garden, Vermeer protected his privacy and immersed himself in his art, rarely venturing far from the enchanting city of Delft.
The patronage of Pieter van Ruijven, a wealthy Delft burgher, provided Vermeer with some financial stability and allowed him to continue his craft, and Vermeer’s interactions with fellow Dutch Genre artists, such as Gerard Dou and Jan Steen, as well as exposure to Italian art, shaped his evolving style and technique.
The Art of Painting (The Allegory of Painting - Painter in his Studio), c. 1666 - 1668 · Oil on Canvas · 120h x 100w (cm) · Kunsthistorisches Museum, Vienna, Austria
The Geographer, 1668 · Oil on Canvas · 53h x 46.6w (cm) · The Städel Museum, Frankfurt, Germany
The Love Letter, c. 1669 - 1670 · Oil on Canvas · 44h x 38.5w (cm) · Rijksmuseum, Amsterdam
View of Delft, c. 1660 - 1661 · Oil on Canvas · 96.5h x 117.5w (cm) · The Mauritshuis Museum, The Hague, Netherlands
Vermeer’s distinctive style brought a new level of depth and realism to his paintings, capturing the essence of everyday life in 17th-century Netherlands. Domestic scenes, interiors, and portraits became his canvas, immortalising the intimate moments that may unfold in the privacy of our homes.
With a delicate and poetic touch, Vermeer masterfully manipulated light and shadow, infusing his works with an almost etherial allure. Each piece carried the power to evoke emotion, as he skilfully played with the interplay of natural and artificial light sources. The result was an enchanting fusion, consecrating ordinary scenes with a radiant luminosity, evoking the reverence of religious paintings throughout history.
Vermeer employed glazing and layering techniques to create depth and luminosity in his paintings. According to a study by the Rijksmuseum and the Mauritshuis, Vermeer’s “Girl with a Pearl Earring” features at least four layers of paint. Vermeer’s carefully selected, limited palette then further emphasised the hues and tones that most resonated with his luminous vision.
This unique approach to light would later inspire artists like Edward Hopper, whose works echo the same luminous quality, and even the British painter J.M.W. Turner, renowned for his sublimely emotive seascapes.
It is also suggested by historians that Vermeer also experimented with the camera obscura—a precursor to modern photography. This novel tool was first described by Leonardo da Vinci, and would have created a short-cut to the striking perspective we see in his work.
Capturing the essence of everyday life, Dutch Genre artists, including Gerard ter Borch and Frans van Mieris sought to elevate both storytelling and technique. These paintings, like whispers of a bygone era, captured and cherished quiet moments of contemplation, work, or leisure.
It is no wonder that Vermeer had a deep appreciation for simplicity, as it seems that he himself valued his personal space and the tranquility of local, homely life. He found inspiration within the confines of his immediate surroundings, finding profound meaning in the ordinary and capturing it on canvas with exquisite detail.
Vermeer’s most famed work, ”Girl with a Pearl Earring” (1665), holds this timeless elegance, captivating audiences with it’s enigmatic charm. The young woman’s gaze, intensified by the luminescent pearl dangling from her ear, invites speculation and imagination. Her slightly parted lips suggest a secret waiting to be revealed, adding to the allure that has made this painting an icon.
In his later piece, ”The Milkmaid” (c.1660), Vermeer paid homage to the beauty of everyday life and the dignity of labor. The eponymous subject, captured in a moment of quiet concentration, was captured pouring milk with a graceful gesture. Through his meticulous attention to detail, Vermeer elevated this humble domestic scene, turning it into a touching exploration of human existence and the significance of simple acts.
“The Music Lesson” (1662 – 1665) transports us to an intimate space where music becomes a bridge between teacher and student. The interplay of light and colour bathes the room, creating an atmosphere of harmony and serenity. Vermeer’s masterful use of perspective draws us into the scene, allowing us to witness this tender interaction.
In a unique departure from intimate, figurative scenes,”View of Delft”, (1659 – 1661) shows us Vermeer’s love for his hometown. This beautiful cityscape captured the essence of Delft, breathing life into the peaceful scene – from the sparkling waterways to the intricate architecture. Vermeer’s keen observation of light held this moment in time in a shimmering canvas of hues and shadows, evoking a sense of nostalgia and pride for his beloved town.
The Milkmaid, c.1660 · Oil on Canvas · 45.5h x 41w (cm) · Rijksmuseum, Amsterdam
The Music Lesson, c. 1662 - 1665 · Oil on Canvas · 74.1h x 64.6w (cm) · The Royal Collection, UK · Acquired by King George III in 1762
Following his death in 1675, Vermeer’s work languished in obscurity until the 19th century. His rediscovery, led by French critic Théophile Thoré-Bürger, prompted a surge of interest and admiration, culminating in the adoration of French Impressionists like Édouard Manet.
This newfound fame also attracted unsavoury elements—forgers and thieves who sought to cash in on Vermeer’s name. In 1974, his painting “The Love Letter” was stolen from the Fine Arts Palace in Brussels, and in 1990, “The Concert” was taken during the Isabella Stewart Gardner Museum heist in Boston. Despite these dark moments, Vermeer’s lasting impact on art history remains undeniable, with his works celebrated and cherished to this day.
As we step back from the canvas of Vermeer’s life and work, we are left with a sense of awe and wonder at the enduring power of his art. A master of light and shadow, he woved emotions and stories into each of his paintings, inviting us to step into a world that feels both familiar and enigmatic. In his quiet, contemplative scenes, Vermeer surpassed time and locality, capturing the essence of the human experience and offering us a glimpse into the soul of the artist himself.
Woman in Blue Reading a Letter, c. 1663 · Oil on Canvas · 46.5h x 39w (cm) · Rijksmuseum, Amsterdam
