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V i r t u a l  R e a l i t y

The charm of realism

Johannes Vermeer

約翰內(nèi)斯·維米爾

Johannes Vermeer, Johannes also rendered Jan, (baptized October 31, 1632, Delft, Netherlands—buried December 16, 1675, Delft), Dutch artist who created paintings that are among the most beloved and revered images in the history of art. Although only about 36 of his paintings survive, these rare works are among the greatest treasures in the world’s finest museums. Vermeer began his career in the early 1650s by painting large-scale biblical and mythological scenes, but most of his later paintings—the ones for which he is most famous—depict scenes of daily life in interior settings. These works are remarkable for their purity of light and form, qualities that convey a serene, timeless sense of dignity. Vermeer also painted cityscapes and allegorical scenes.

約翰內(nèi)斯·維米爾(Johannes Vermeer)(1632年10月31日生，荷蘭代爾夫特，于1675年12月15去世)是荷蘭繪畫大師，創(chuàng)作了多幅藝術(shù)史上最經(jīng)典以及最受尊敬的畫作。盡管他的畫作現(xiàn)在僅存36幅左右，可以認(rèn)定是其真跡，但這些珍貴的作品都是世界上最好的博物館里最珍貴的藏品之一。維米爾在17世紀(jì)50年代早期開始了他的繪畫生涯，他曾畫了大規(guī)模的圣經(jīng)和神話場(chǎng)景，但他后期的大多數(shù)畫作——他最著名的作品——都是在室內(nèi)環(huán)境中描繪日常生活的場(chǎng)景。這些作品因其純粹的光和形式而引人注目，這些作品傳達(dá)了一種寧?kù)o、永恒的感覺。除此之外，維米爾還畫了一些城市風(fēng)景和寓言場(chǎng)景。

APPRECIATION

僅存的36幅經(jīng)典之作

Diana and Her Companions

circa1653–1654
oil on canvas
97.8 × 104.6 cm
The Hague, Royal Picture Gallery Mauritshuis

Christ in the House of Martha and Mary

circa 1654–1656
oil on canvas
158.5 × 141.5 cm
Edinburgh, National Galleries of Scotland

The Procuress

1656
oil on canvas
143 × 130 cm
Dresden, Gem?ldegalerie Alte Meister

A Maid Asleep

circa 1656–1657
oil on canvas
87.6 × 76.5 cm
New York, The Metropolitan Museum of Art

Officer And Laughing Gir

circa 1657

oil on canvas
50.5 × 46 cm
New York, The Frick Collection
Henry Clay Frick Bequest

Girl reading a letter at an open window

circa 1657–1659
oil on canvas
83 × 64.5 cm
Dresden, Gem?ldegalerie Alte Meister

View of Houses In Delft, 

Known As ‘The Little Street’

circa 1657–1658
oil on canvas
54.3 × 44 cm
Amsterdam, Rijksmuseum Amsterdam

The Milkmaid

circa 1660
oil on canvas
45.5 × 41 cm
Amsterdam, Rijksmuseum Amsterdam

The Glass Of Wine

circa 1658–1660
oil on canvas
66.3 × 76.5 cm
Berlin, Gem?ldegalerie

The Girl With A Wineglass

circa 1659–1660
oil on canvas
78 × 67 cm
Braunschweig, Herzog Anton Ulrich-Museum

Girl interrupted At Her Music

circa 1658–1661
oil on canvas
39.4× 44.5 cm
New York, The Frick Collection
Henry Clay Frick Bequest

View on Delft

circa 1660–1661
oil on canvas
96.5 × 117.5 cm
The Hague, Royal Picture Gallery Mauritshuis

A lady at the virginals with a gentleman, 

known as ‘The Music Lesson’

circa 1662–1665
oil on canvas
73.3 × 64.5 cm
Windsor/London, The Royal Collection

Woman Reading A Letter

circa 1662–1663
oil on canvas
46.5 × 39 cm
Amsterdam, Rijksmuseum Amsterdam

Woman Holding A Balance

circa 1662–1665
oil on canvas
39.7 × 35.5 cm
Washington, D.C., National Gallery of Art
Widener Collection

Young Woman With A Water Pitcher

circa 1662–1665
oil on canvas
45.7 × 40.6 cm
New York, The Metropolitan Museum of Art
Marquand Collection

Woman With A Lute

circa 1662–1664
oil on canvas
51.4 × 45.7 cm
New York, The Metropolitan Museum of Art

Woman with a pearl necklace

circa 1660–1665
oil on canvas
55 × 45 cm
Berlin, Gem?ldegalerie

A Lady Writing

circa 1665–1666
oil on canvas
45 × 39.9 cm
Washington, D.C., National Gallery of Art

Girl With The Red Hat

circa 1665–1667
oil on panel
22.8 × 18 cm
Washington, D.C., National Gallery of Art
Andrew W. Mellon Collection

Girl With A Flute

circa 1665–1670
oil  on  oak panel
20 × 17.5 cm
Washington, D.C., National Gallery of Art
Widener Collection

The Girl with a Pearl Earring

circa 1665
oil on canvas
46.5 × 40 cm
The Hague, Royal Picture Gallery Mauritshuis

The Concert

circa 1663–1666

oil on canvas
72.5 × 64.7 cm
Present whereabouts unknown 

The Art of Painting

circa 1666–1668
oil on canvas
120 × 100 cm
Vienna, Kunsthistorisches Museum

Study Of A Young Woma

circa 1665–1667

oil on canvas
44.5 × 40 cm
New York, The Metropolitan Museum of Art 

Mistress And Maid

circa 1666–1667
oil on canvas
90.2 × 78.4 cm
New York, The Frick Collection
Henry Clay Frick Bequest

The astronomer

1668
oil on canvas
51.5 × 45.5 cm
Paris, Musée du Louvre

The geographer

circa 1668–1669
oil on canvas
53 × 46.5 cm
Frankfurt am Main, St?del Museum

The lacemaker

circa 1669–1671
oil on canvas
24 × 21 cm
Paris, Musée du Louvre

The Loveletter

circa 1669–1670
oil on canvas
44 × 38.5 cm
Amsterdam, Rijksmuseum Amsterdam

Young woman playing a guitar

circa 1670–1672
oil on canvas
53 × 46.3 cm
London, Kenwood House
Iveagh Bequest

Lady writing a letter with her maid

circa 1670–1671
oil on canvas
71.1 × 58.4 cm
Dublin, National Gallery of Ireland

Allegory of the Catholic Faith

circa 1670
oil on canvas
114.3 × 88.9 cm
New York, The Metropolitan Museum of Art
The Friedsam Collection

Young woman standing at a virginal

circa 1670–1672
oil on canvas
51.7 × 45.2 cm
London, The National Gallery

A young woman seated at a virginal

circa 1670–1672
oil on canvas
51.5 × 45.5 cm
London, The National Gallery
Salting Bequest

A young woman seated at the virginals

circa 1670–1672
oil on canvas
25.2 × 20 cm
New York, private collection

Disputed works

有爭(zhēng)議的作品

Attributed to Johannes Vermeer (after Felice Ficherelli). Saint Praxedis. 1655. oil on canvas. 101.6 × 82.6 cm. Princeton, New Jersey, The Barbara Piasecka Johnson Collection Foundation. 

Forgeries works

偽造的作品

Young Woman Reading. circa 1925–1927. oil on canvas. 19.7 × 14.6 cm. New York, The Metropolitan Museum of Art.

RESUME

Johannes Vermeer is one of the great Dutch masters, though only about 35 paintings by him are known. Born in Delft in 1632, he may have been a pupil of local history painter Leonaert Bramer.

Work and influence

Vermeer's earliest works of the 1650s include religious and mythological subjects as well as genre scenes. They are influenced by Caravaggio's followers in Utrecht, such as Hendrik ter Brugghen. Vermeer may have gained an interest in optical phenomena and the effects of the Camera Obscura from Carel Fabritius, who was active in Delft between 1650 and 1654.

Style and symbolism

His mature domestic genre pieces have a characteristic pearly light. The eye is drawn into the picture by the careful placing of objects and a clearly defined architectural space. Figures pursue tranquil occupations, and the symbolic meaning of the scene is sometimes revealed through a painting within the painting.