标题: Vermeer [打印本页] 作者: choi 时间: 1-31-2023 14:21 标题: Vermeer JS Marcus, A Rare Reunion of Vermeers; At Amsterdam's Rijksmuseum, a history-making show will bring together 28 of the artist's surviving paintings. Wall Street Journal, Jan 28, 2023, at page C14 https://www.wsj.com/articles/a-r ... ermeers-11674845440
Excerpt in the window of print: Nearly every painting by Vermeer is a cherished masterpiece.
(b) Rijksmuseum
(i) Rijksmuseum https://en.wikipedia.org/wiki/Rijksmuseum
(1798- ; "moved [from The Hague] to Amsterdam in 1808")
(ii) History. Rijksmuseum, undated https://www.rijksmuseum.nl/en/about-us/what-we-do/history
("On 19 November 1798 the government decided to establish a national museum on the French model. * * * This National Art Gallery first opened its doors on 31 May 1800 in Huis Ten Bosch in The Hague. It brought together more than 200 paintings and historical objects from both the stadtholders’ collections and national institutions (some [now] defunct) like the Dutch East India Company. The first purchase – The Swan by Jan Asselijn – cost 100 guilders and is one of the Rijksmuseum's top attractions to this day. In 1808 the Kingdom of Holland was under the rule of Louis Napoleon Bonaparte. He moved the national collections to the country’s new capital of Amsterdam. * * * After King Willem I came to the throne in 1813, the museum and the national print collection from The Hague were both relocated to Trippenhuis, a 17th-century city palace situated on Kloveniersburgwal. It was christened the 'Rijks Museum,' or 'national museum' ")
• For Louis Napoleon Bonaparte. see Louis Bonaparte https://en.wikipedia.org/wiki/Louis_Bonaparte
(1778 – 1846; "was a younger brother of Napoleon I * * * was a monarch [King of Holland] in his own right from 1806 to 1810, ruling over the Kingdom of Holland (a French client state roughly corresponding to the modern-day Kingdom of the Netherlands). In that capacity he was known as Louis I * * * Napoleon annexed Holland to France by the Decree of Rambouillet on 9 July," 1810)
In 1810, Napoleon I essentially forced Louis I to abdicate.
• William I of the Netherlands https://en.wikipedia.org/wiki/William_I_of_the_Netherlands
(1772 – 1843; Dutch: Willem Frederik; son of William V, the last stadtholder of the Dutch Republic; "In 1813, when Napoleon was defeated at the Battle of Leipzig, the Orange-Nassau territories were returned to William" who would be crowned as William I in 1815)
(A) Huis ten Bosch https://en.wikipedia.org/wiki/Huis_ten_Bosch
(a palace; Dutch for "House in the Woods")
(B) Dutch-English dictionary:
* huis (noun neuter): "house" https://en.wiktionary.org/wiki/huis
^ The Modern English noun house came from Old English noun neuter hūs house.
* ten (contraction of [preposition] te [at] + [archaic definite article singular] den; Usage notes: "ten is part of many fossilized idiomatic expressions"): "at the (followed by a masculine or neuter word)" https://en.wiktionary.org/wiki/ten
(C) For meaning of rijk in Dutch, see Reich https://en.wikipedia.org/wiki/Reich
(Reich "is derived from the Germanic word which generally means 'realm,' but in German, it is typically used to designate a kingdom or an empire * * * Reich is comparable in meaning and development (as well as descending from the same Proto-Indo-European root [which also gave rise to Latin noun masculine rex 'king.' See Wiktionary for reich (adj)]) to the English word realm (via [the same spelling in Middle as well as Old] French [noun masculine] reaume 'kingdom' from Latin [adjective masculine or feminine] regalis royal. * * * The German adjective reich, on the other hand, has an exact cognate in English rich. * * * [Both adjectives (meaning rich) and nouns (meaning realm) are derived from] Common Germanic [or Proto-Germanic (language)] *rīks 'ruler, king' [which is the first element of male given name Richard]")
• Recall that all German nouns have the first letter capitalized. The German adjective reich and English adjective rich are both meaning rich, and both came, each step along the way, from the same Proto-Germanic root. Proto-Indo-European (PIE) (language)evolved into Proto-Germanic (language) and Proto-Italic (language; the latter spawned Latin), among other branches.
• German-English dictionary:
* Reich (noun neuter; "Cognates include Old English rīċe 'kingdom, empire' (obsolete English riche and rike), Dutch rijk 'kingdom, empire' * * * and Sanskrit [noun neuter] राज्य (romanization rājyá) 'kingdom' [from Sanskrit noun masculine राज् (romanization rā́j) 'king' ") https://en.wiktionary.org/wiki/Reich
(D) Jan Asselijn https://en.wikipedia.org/wiki/Jan_Asselijn
(c 1610 – 1652; "One of his paintings, The Threatened Swan, which portrays a swan aggressively defending its nest, became a symbol of Dutch national resistance, although it is unknown if Asselijn intended it to be so. In particular, it was interpreted as a depiction of Johan de Witt")
• Eighty Years' War https://en.wikipedia.org/wiki/Eighty_Years%27_War
(1566-1648; Dutch against Spain)
(E) The Threatened Swan https://en.wikipedia.org/wiki/The_Threatened_Swan
(c 1650) 作者: choi 时间: 1-31-2023 14:25
(c)
(i) Johannes Vermeer https://en.wikipedia.org/wiki/Johannes_Vermeer
(1632-1675; section 2 Life, section 2.4 Wars and death)
(ii) The (b)(ii)(D) right above mentions Johan de Witt. What is the difference?
(A) Johannes https://en.wikipedia.org/wiki/Johannes
("is a Medieval Latin form [which actually is spelled Iohannes, because letter J came late] * * * Common German variants for Johannes are Johann, Hannes, Hans")
• Johannes https://www.collinsdictionary.com/us/dictionary/english/johannes
(pronunciation)
(B) Johan (given name) https://en.wikipedia.org/wiki/Johan_(given_name)
("is a Scandinavian and Dutch form")
(d)
(i) "Scholars now believe that some three dozen of his paintings survive, about one-tenth as many as Rembrandt [1606 – 1669]."
(ii) "a 2020 restoration of 'Girl Reading a Letter at an Open Window' (1657-58), in the Dresden State Art Collections, revealed that a seemingly blank wall was originally decorated with a painting of a Cupid."
(A) For Dresden State Art Collections, see Staatliche Kunstsammlungen Dresden https://en.wikipedia.org/wiki/Staatliche_Kunstsammlungen_Dresden
(section 2 Museums, section 2.1 Painting galleries: "Gemäldegalerie Alte Meister (Old Masters Painting Gallery), Zwinger [name of a palace]" )
English noun gallery is derived from Medieval Latin galeria 'gallery.'
• Saxony https://en.wikipedia.org/wiki/Saxony
(a state; table: Capital Dresden, Largest city Leipzig (population: 600k at the end of 2021))
• German-English dictionary:
* Gemälde (noun neuter; from [prefix] ge- [form collective/mass noun] + [verb] malen [to paint] + [suffix] -de): "painting" https://en.wiktionary.org/wiki/Gemälde
* Staatlich (adjective; from [noun masculine] Staat [state] + -lich [used to form adjectives from nouns]): "state" https://en.wiktionary.org/wiki/staatlich
* Kunst (noun feminine): "art" https://en.wiktionary.org/wiki/Kunst
* Sammlung(noun feminine; from [verb] sammeln [to collect] + [suffix] -ung [-ing (-ing in Modern English came from -ing in Middle English, and -ing or -ung in Old English)]; plural Sammlungen): "collection" https://en.wiktionary.org/wiki/Sammlung
(B)
• Girl Reading a Letter at an Open Window https://en.wikipedia.org/wiki/Gi ... r_at_an_Open_Window
(table: Location Gemäldegalerie, Dresden)
• Johannes Vermeer. On Reflection. Oct 9, 2021-Feb 1, 2022 (exhibition). https://gemaeldegalerie.skd.muse ... tch-genre-painting/
("In the course of the work process [restoration of this painting], it was discovered that a long-known extensive area of overpainting on the rear wall of the interior in the 'Girl Reading a Letter at an Open Window' does not derive from Vermeer himself, but must have been executed by another hand some time after his death. The light-coloured overpainting was therefore gradually removed to reveal the underlying motif of a standing Cupid with a bow, arrows and two masks [over which Cupid stood and whose meaning is unclear], as a 'painting within the painting' on the rear wall of the room") 作者: choi 时间: 1-31-2023 14:27
(e) "The show opens with the panoramic 'View of Delft' (1660-61), followed by 'The Little Street' (1658-59), which recent scholarship suggests was based on a real spot in Delft, Vermeer's hometown. * * * 'Christ in the House of Mary and Martha.'
(i) View of Delft https://en.wikipedia.org/wiki/View_of_Delft
(table: Location Mauritshuis, The Hague)
• Mauritshuis https://en.wikipedia.org/wiki/Mauritshuis
(English: Maurice House; built by John Maurice whose Dutch name is Dutch: Johan Maurits; section 3 Collection)
(ii) The Little Street https://en.wikipedia.org/wiki/The_Little_Street
(iii) Delft https://en.wikipedia.org/wiki/Delft
("The city of Delft came into being beside a canal, the 'Delf,' which comes from the word [Modern Dutch verb] delven, meaning to delve or dig, and this led to the name Delft")
(iv) Christ in the House of Martha and Mary (Vermeer) https://en.wikipedia.org/wiki/Ch ... of_Martha_and_Mary_(Vermeer)
("It is now in the Scottish National Gallery in Edinburgh. It is the largest painting by Vermeer [table: Dimensions 160 cm × 142 cm (63 in × 56 in)] and one of the very few with an overt religious motive")
• Jesus at the home of Martha and Mary https://en.wikipedia.org/wiki/Je ... _of_Martha_and_Mary 作者: choi 时间: 1-31-2023 14:28
(f) "Dr Weber argues that his art reflects the influence of a circle of Jesuit priests in Delft who were interested in optics. 'The Lacemaker' (1666-68), on loan from the Louvre, is a good example. "
(i) The Lacemaker (Vermeer) https://en.wikipedia.org/wiki/The_Lacemaker_(Vermeer)
, whose painting caption reads: "The Lace Maker (1662) by Caspar Netscher. Although this work shares with Vermeer a sense of quiet solitude, it hints at sexual overtones unvisited by the later [sic; should be latter] artist [Vermeer]"
Jenna Wendler, Ideals of Femininity in the Dutch Republic: Analyzing Systems of Class, Gender, and Power in Caspar Netscher's Lacemaker (1662). Master's Capstone Project, American University, 2022 https://omeka.library.american.e ... emaker/page/welcome
("Hello and welcome to my virtual exhibition, the culmination of a year of devoted research and five years of thinking about Caspar Netscher's Lacemaker (1662). * * * This project was completed in Partial Fulfillment of the Requirements for the Degree of Master's of Arts in Art History, submitted to the Faculty of the College of Arts and Sciences at American University. * * * A version of this project was awarded the 2022 Günther Stamm Prize for original research and excellent presentation at the Graduate Art History Symposium hosted by Florida State University (Apr 8-9, 2022)" )
One may click, at the bottom of Web pages, "Prev" or "Next" to move pages. If one clicks "Next", he may reach
The Setting. https://omeka.library.american.e ... emaker/page/setting
("While the mussel shells and the shoes create a visual parallel, their individual meanings stand in juxtaposition. In prior scholarship, both mussels and discarded shoes have been interpreted as related to illicit sexuality or adultery in Dutch genre paintings. Mussels have been associated with oysters as aphrodisiacs and connected to sexual promiscuity, such as in art historian Peter Glum's analysis of Bosch's Garden of Earthly Delights. Glum affirmed this interpretation by noting that the Middle Dutch word for mussel, mosschele, was also contemporary slang for female genitalia.[55] Discarded shoes have also been connected to loose morals or sexual promiscuity, where the pair of shoes, toppled rather than neatly set aside, suggest illicit love, adultery, or otherwise sinful sexual behavior")
(ii) " 'Woman Holding a Balance' (ca 1662-64), in which the woman is 'weighing earthly and heavenly values, and deciding which way to go,' Dr Weber says"
Woman Holding a Balance https://en.wikipedia.org/wiki/Woman_Holding_a_Balance
("now in the National Gallery of Art in Washington, DC")
(iii) "Frick's three Vermeers, including the courtship-themed, vaguely ominous 'Girl Interrupted at Her Music' (ca 1659-61)"
(A) Girl Interrupted at Her Music https://en.wikipedia.org/wiki/Girl_Interrupted_at_Her_Music
talks about a glass with wine in it. I did not see it.
(B) Girl Interrupted at Her Music. Frick Collection, undated https://collections.frick.org/ob ... rupted-at-her-music
at the highest resolution does show a glass.
(C) I am a straight arrow. Never a conspiracy theorist. I see nothing "ominous." The only reference about being ominous in the Web is
Alexandra Fradelizio, I preferred, much preferred, my version: Exploring the Female Voice and Feminine Identity Within Memoirs of the 20th and 21st Centuries. Department of Literature and Languages, Dominican University of California, May 9, 2016 (senior thesis). https://scholar.dominican.edu/cg ... ntext=senior-theses
("Despite her being institutionalized [voluntarily stayed at McLean Hospital, a Harvard-affiliated mental hospital based in Belmont (a Boston suburb), Massachusetts] for two years of her early adult life * * * The first time she [Susanna Kaysen] viewed the painting as a seventeen year old student, Kaysen recalls how the female figure within the painting seemed to 'warn' her, as she explains, 'Her mouth was slightly open, as if she had just drawn a breath in order to say to me, "Don't!" ' (166 [likely page number in the book]). This ominous admission * * * ")
• Dominican University of California https://en.wikipedia.org/wiki/Dominican_University_of_California
• Firstly, the title of the thesis is copied verbatim from the thesis, including upper and lower case. Because the second half ("Exploring the Female Voice * * * ") has the first letter capitalized, I suspect this is the true title. Then, what is "I preferred, much preferred, my version"?
Fradelizio was quoting from one of the five memoirs she analyzed: I Know Why the Caged Bird Sings https://en.wikipedia.org/wiki/I_Know_Why_the_Caged_Bird_Sings
("a 1969 autobiography [by Maya Angelou (born Marguerite Annie Johnson, whose first marriage was to Tosh Angelos, a Greek) when she was 41] * * * it is a coming-of-age story that * * * begins when three-year-old Maya and her older brother are sent to Stamps, Arkansas, to live with their grandmother and ends when Maya becomes a mother at the age of 16"/ section 1 Background, section 1.1 Title)
• The following is a study aid:
Brian Cowing, I Know Why the Caged Bird Sings Ch. 23-26: Summary & Analysis. Study.com, undated https://study.com/academy/lesson ... mmary-analysis.html
("The Dentist [which is the sectional heading] [:] In Chapter 24 * * * However, later on, Maya overhears Momma telling the real version * * * Maya tells us 'I preferred, much preferred, my version' ")
(iv) "the Rijksmuseum's 'The Milkmaid' (1658-59), which, far beyond the world of art experts, has become a national symbol of the Netherlands" for (domestic virtue) or (Dutch ethics). The last two items are found in the Web. 作者: choi 时间: 1-31-2023 14:28
—----------------------text
The Dutch artist Johannes Vermeer didn't live long, and he didn't paint much. By the time he died in 1675, at age 43, he may have spent more time working at other jobs, including art dealer and innkeeper, than as an artist. Scholars now believe that some three dozen of his paintings survive, about one-tenth as many as Rembrandt. Nearly every one of those paintings is a cherished masterpiece, typically marked by a delicate interplay of light and shadow and a transcendent view of everyday life.
On Feb 10, Amsterdam's Rijksmuseum will make history with "Vermeer," bringing together 28 acknowledged paintings by the Dutch master, substantially more than previous museum shows. The exhibition, which runs through June 4, reflects the latest important discoveries in Vermeer scholarship. For instance, a 2020 restoration of "Girl Reading a Letter at an Open Window" (1657-58), in the Dresden State Art Collections, revealed that a seemingly blank wall was originally decorated with a painting of a Cupid. The painting is on view in Amsterdam, but most details about the dramatic change are saved for the catalog, since wall texts are being kept to a minimum. "We are trying to have 'pure Vermeer," says Gregor JM Weber, the Rijksmuseum's head of fine and decorative arts and the show's co-curator. "If you have too much didactic material, it will destroy that feeling."
"Vermeer" fills the museum's Philips Wing, a high-ceilinged home for special shows with more than 10,000 square feet of exhibition space. The curators and the French architect Jean-Michel Wilmotte, the show's designer, display the relatively small paintings in seven galleries, with walls painted shades of deep green, Prussian blue and a color that Mr Wilmotte calls eggplant red. The galleries are decorated with sections of floor-to-ceiling velvet drapery the same color as the walls.
The show opens with the panoramic "View of Delft" (1660-61), followed by "The Little Street" (1658-59), which recent scholarship suggests was based on a real spot in Delft, Vermeer's hometown. Visitors will then see the young Vermeer's ambitions "stylistically to get out of Delft," Dr Weber says, by experimenting with Flemish or Italian trends, in works such as "Christ in the House of Mary and Martha.” Then begin the nearly two dozen genre and interior scenes that lie at the core of his appeal.
In a new biography of the artist, "Johannes Vermeer: Faith, Light and Reflection," Dr Weber argues that his art reflects the influence of a circle of Jesuit priests in Delft who were interested in optics. "The Lacemaker" (1666-68), on loan from the Louvre, is a good example. The contrast in the painting between sharp details and more indistinct areas reflects Vermeer's experience with a camera obscura, a device or space that allows for the projection of a concentrated image through a pinpoint of light. Dr. Weber says this helped the artist to realize that "if I fix my eye on something that is further away, the foreground is blurred."
The work is grouped with "Girl With a Pearl Earring," which Dr Weber says has become a "new 'Mona Lisa,' " thanks to the 1999 novel about the painting by Tracy Chevalier and the subsequent film version. The final gallery includes paintings with theological implications, such as "Woman Holding a Balance" (ca 1662-64), in which the woman is "weighing earthly and heavenly values, and deciding which way to go," Dr. Weber says.
Dr Weber says the idea for the new show was born in 2018, when New York's Frick Collection announced renovation plans. (The collection's Fifth Avenue premises have been closed since March 2020.) This inspired the Rijksmuseum to seek out a loan of the Frick's three Vermeers, including the courtship-themed, vaguely ominous "Girl Interrupted at Her Music" (ca 1659-61). Many scholars of Dutch art plan to make a pilgrimage to Amsterdam for a chance to make comparisons between paintings that have almost certainly never been underneath the same roof.
The leading Vermeer scholar Arthur K Wheelock, Jr, former curator at Washington's National Gallery of Art, curated a major show about the painter in 1995-96 that included 22 Vermeers. In the new show, he is especially eager to compare Dresden's restored "Letter” with other works from the late 1650s, including the Rijksmuseum's "The Milkmaid" (1658-59), which, far beyond the world of art experts, has become a national symbol of the Netherlands.