Thursday 19 August 2010

the paintshop boj

Johannes, Jan or Johan Vermeer (baptized in Delft on 31 October 1632 as Johannis, and buried in the same city under the name Jan on 15 December 1675) was a Dutch Baroque painter who specialized in exquisite, domestic interior scenes of middle class life. Vermeer was a moderately successful provincial genre painter in his lifetime. He seems never to have been particularly wealthy, leaving his wife and children in debt at his death, perhaps because he produced relatively few paintings.

Vermeer worked slowly and with great care, using bright colours and sometimes expensive pigments, with a preference for cornflower blue and yellow. He is particularly renowned for his masterly treatment and use of light in his work.

Recognized during his lifetime in Delft and The Hague, his modest celebrity gave way to obscurity after his death; he was barely mentioned in Arnold Houbraken's major source book on 17th century Dutch painting (Grand Theatre of Dutch Painters and Women Artists), and was thus omitted from subsequent surveys of Dutch art for nearly two centuries. In the 19th century Vermeer was rediscovered by Gustav Friedrich Waagen and Théophile Thoré-Bürger, who published an essay attributing sixty-six pictures to him, although only thirty-four paintings are universally attributed to him today. Since that time Vermeer's reputation has grown, and he is now acknowledged as one of the greatest painters of the Dutch Golden Age.

Relatively little is known about Vermeer's life. He seems to have been exclusively devoted to his art, living out his life in the city of Delft. The only sources of information are some registers, a few official documents and comments by other artists; it was for this reason that Thoré Bürger named him "The Sphinx of Delft".

On October 31, 1632, Johannes was baptized in the Reformed Church. His father, Reijnier Janszoon, was a middle-class worker of silk or caffa (a mixture of silk and cotton or wool). As an apprentice in Amsterdam, Reijnier lived on fashionable Sint Antoniesbreestraat, then a street with many resident painters. In 1615 he married Digna Baltus. The couple moved to Delft and had a daughter, Gertruy, who was baptized in 1620. In 1625 Reijnier was involved in a fight with a soldier named Willem van Bylandt, who died from his wounds five months later. Around this time Reijnier began dealing in paintings. In 1631 he leased an inn called "The Flying Fox". In 1641 he bought a larger inn on the market square, named after the Belgian town "Mechelen". The acquisition of the inn constituted a considerable financial burden. When Vermeer's father died in October of 1652, Vermeer assumed operation of the family's art business.

In April 1653 Johannes Reijniersz Vermeer married a Catholic girl named Catharina Bolenes (Bolnes). The blessing took place in a nearby and quiet village Schipluiden.For the groom it was a good match. His mother-in-law, Maria Thins, was significantly wealthier than he, and it was probably she who insisted Vermeer convert to Catholicism before the marriage on 5 April. Some scholars doubt that Vermeer became Catholic, but one of his paintings, The Allegory of Catholic Faith, made between 1670 and 1672, reflects the belief in the Eucharist. Walter Liedtke in Dutch Paintings in the Metropolitan Museum of Art suggests it was made for a Catholic patron, or for a schuilkerk, a hidden church. At some point the couple moved in with Catharina's mother, who lived in a rather spacious house at Oude Langendijk, almost next to a hidden Jesuit church. Here Vermeer lived for the rest of his life, producing paintings in the front room on the second floor. His wife gave birth to 14 children: four of whom were buried before being baptized, but were registered as "child of Johan Vermeer". From wills written by relatives, ten names are known: Maria, Elisabeth, Cornelia, Aleydis, Beatrix, Johannes, Gertruyd, Franciscus, Catharina, and Ignatius. Quite a few have a name with a religious connotation and it is very likely that the youngest, Ignatius, was named after the founder of the Jesuit order.

It is unclear where and with whom Vermeer apprenticed as a painter. Speculation that Carel Fabritius may have been his teacher is based upon a controversial interpretation of a text written in 1668 by the printer Arnold Bon. Art historians have found no hard evidence to support this. The local authority, Leonaert Bramer, acted as a friend but their style of painting is rather different.Liedtke suggests Vermeer taught himself and had information from one of his father's connections. Some scholars think Vermeer was trained under the Catholic painter Abraham Bloemaert. Vermeer's style is similar to that of some of the Utrecht Carravagists, whose works are depicted as paintings-within-paintings in the backgrounds of several of his compositions. In Delft Vermeer probably competed with Pieter de Hoogh and Nicolaes Maes who produced genre works in a similar style.

On 29 December 1653, Vermeer became a member of the Guild of Saint Luke, a trade association for painters. The guild's records make clear Vermeer did not pay the usual admission fee. It was a year of plague, war and economic crisis; not only Vermeer's financial circumstances were difficult. In 1654, the city of Delft suffered the terrible explosion known as the Delft Thunderclap that destroyed a large section of the city. In 1657 he might have found a patron in the local art collector Pieter van Ruijven, who lent him some money. In 1662 Vermeer was elected head of the guild and was reelected in 1663, 1670, and 1671, evidence that he (like Bramer) was considered an established craftsman among his peers. Vermeer worked slowly, probably producing three paintings a year, and on order. When Balthasar de Monconys visited him in 1663 to see some of his work, the diplomat and the two French clergymen who accompanied him were sent to Hendrick van Buyten, a baker, who had a couple of his paintings as collateral.

In 1671 Gerrit van Uylenburgh organised the auction of Gerrit Reynst's collection and offered thirteen paintings and some sculptures to Frederick William, Elector of Brandenburg. Frederick accused them of being counterfeits and had sent twelve back on advise of Hendrick Fromantiou. Van Uylenburg then organized a counter-assessment, asking a total of 35 painters to pronounce on their authenticity, including Jan Lievens, Melchior de Hondecoeter, Gerbrand van den Eeckhout and Johannes Vermeer.

In 1672 a severe economic downturn (the "Year of Disaster") struck the Netherlands, after Louis XIV and a French army invaded the Dutch Republic from the south (known as the Franco-Dutch War). During the Third Anglo-Dutch War an English fleet and two allied German bishops attacked the country from the east causing more destruction. Many people panicked; courts, theaters, shops and schools were closed. Five years passed before circumstances improved. In the Summer of 1675 Vermeer borrowed money in Amsterdam, using his mother-in-law as a surety.

In December 1675 Vermeer fell into a frenzy and suddenly died, within a day and a half. Jan Vermeer was buried in the Protestant Old Church on 15 Dec 1675. Catharina Bolnes attributed her husband's death to the stress of financial pressures. The collapse of the art market damaged Vermeer's business as both a painter and an art dealer. She, having to raise 11 children, asked the High Court to allow her a break in paying the creditors.The Dutch microscopist Antonie van Leeuwenhoek, who worked for the city council as a surveyor, was appointed trustee. The house, with eight rooms on the first floor, was filled with paintings, drawings, clothes, chairs and beds. In his atelier there were two chairs, two painter's easels, three palettes, ten canvases, a desk, an oak pull table, a small wooden cupboard with drawers and rummage not worthy being itemized. Nineteen of Vermeer's paintings were bequeathed to Catharina and her mother. The widow sold two more paintings to Hendrick van Buyten in order to pay off quite a debt for bread delivered.

Vermeer had been a respected artist in Delft, but almost unknown outside his home town. The fact that a local patron, Pieter van Ruijven, purchased much of his output reduced the possibility of his fame spreading. Besides, Vermeer never had any pupils; being a father, an art-dealer and inn-keeper, head of the guild and his extraordinary precision as a painter all help to explain his limited oeuvre.

Vermeer produced transparent colours by applying paint to the canvas in loosely granular layers, a technique called pointillé (not to be confused with pointillism). No drawings have been positively attributed to Vermeer, and his paintings offer few clues to preparatory methods. David Hockney, among other historians and advocates of the Hockney–Falco thesis, has speculated that Vermeer used a camera obscura to achieve precise positioning in his compositions, and this view seems to be supported by certain light and perspective effects. The often-discussed sparkling pearly highlights in Vermeer's paintings have been linked to this possible use of a camera obscura, the primitive lens of which would produce halation. Exaggerated perspective can be seen in Lady at the Viraginals with a Gentleman (London, Royal Collection). Vermeer's interest in optics is also attested in this work by the accurately observed mirror reflection above the lady at the viraginals.

However, the extent of Vermeer's dependence upon the camera obscura is disputed by historians. Indeed, other than assumptions made by an analysis of his style, there is no evidence, either scientific or historical, that Vermeer ever owned or used such a device.

There is no other seventeenth century artist who early in his career employed, in the most lavish way, the exorbitantly expensive pigment lapis lazuli, or natural ultramarine. Vermeer not only used this in elements that are naturally of this colour; the earth colours umber and ochre should be understood as warm light within a painting's strongly-lit interior, which reflects its multiple colours onto the wall. In this way, he created a world more perfect than any he had witnessed. This working method most probably was inspired by Vermeer’s understanding of Leonardo’s observations that the surface of every object partakes of the colour of the adjacent object. This means that no object is ever seen entirely in its natural colour.

A comparable but even more remarkable, yet effectual, use of natural ultramarine is in The Girl with a Wineglass. The shadows of the red satin dress are underpainted in natural ultramarine, and, owing to this underlying blue paint layer, the red lake and vermilion mixture applied over it acquires a slightly purple, cool and crisp appearance that is most powerful.

Even after Vermeer’s supposed financial breakdown following the so-called rampjaar (year of disaster) in 1672, he continued to employ natural ultramarine generously, such as in Lady Seated at a Virginal. This could suggest that Vermeer was supplied with materials by a collector, and would coincide with John Michael Montias’ theory of Pieter van Ruijven being Vermeer’s patron.

Vermeer painted mostly domestic interior scenes. His works are largely genre pieces and portraits, with the exception of two cityscapes and two allegories. His subjects offer a cross-section of seventeenth century Dutch society, ranging from the portrayal of a simple milkmaid at work, to the luxury and splendour of rich notables and merchantmen in their roomy houses. Besides these subjects, religious, poetical, musical, and scientific comments can also be found in his work.

Only three paintings are dated: The Procuress (1656, Dresden, Gemäldegalerie), The Astronomer (1668, Paris, Louvre), and The Geographer (1669, Frankfurt, Städelsches Kunstinstitut). Two pictures are generally accepted as earlier than The Procuress; both are history paintings, painted in a warm palette and in a relatively large format for Vermeer—Christ in the House of Martha and Mary (Edinburgh, National Gallery) and Diana and her Companions (The Hague, Mauritshuis).

Vermeer's mother-in-law, Maria Thins, owned Dirck van Baburen's 1622 oil-on-canvas Procuress (or a copy of it), which appears in the background of two of Vermeer's paintings. The same subject was also painted by Vermeer. After his own The Procuress almost all of Vermeer's paintings are of contemporary subjects in a smaller format, with a cooler palette dominated by blues, yellows and greys. It is to this period that practically all of his surviving works belong. They are usually domestic interiors with one or two figures lit by a window on the left. They are characterized by a serene sense of compositional balance and spatial order, unified by a pearly light. Mundane domestic or recreational activities become thereby imbued with a poetic timelessness (e.g. Girl Reading a Letter at an Open Window, Dresden, Gemäldegalerie). To this period also have been allocated Vermeer's two townscapes, View of Delft (The Hague, Mauritshuis) and The Little Street (Amsterdam, Rijksmuseum).

A few of his paintings show a certain hardening of manner and these are generally thought to represent his late works. From this period come The Allegory of Faith (c 1670, New York, Metropolitan Museum) and The Love Letter (c 1670, Amsterdam, Rijksmuseum).

Upon the rediscovery of Vermeer's work in the 19th century, several prominent Dutch artists, including Simon Duiker, modelled their style on his work.
Vermeer's View of Delft features in a pivotal sequence of Marcel Proust's The Captive.
Salvador Dalí, with great admiration for Vermeer, painted his own version of The Lacemaker and pitted large copies of the original against a rhinoceros in some now-famous surrealist experiments. Dali also immortalized the Dutch Master in The Ghost of Vermeer of Delft Which Can Be Used As a Table, 1934.
Han van Meeegeren was a Dutch painter who worked in the classical tradition. Lured by the huge sums an authentic Vermeer would command, van Meeegeren copied Vermeer's style in several of his own paintings with the intention of selling them as works of Vermeer.
Peter Greenaway's film A Zed & Two Noughts (1985) contains a plot line about an orthopedic surgeon named Van Meaegeren who stages highly exact scenes from Vermeer paintings in order to paint copies of them.
Dutch composer Louis Andriessen based his opera, Writing to Vermeer , libretto by Peter Greanaway, on the domestic life of Vermeer.
Tracy Chevalier's novel Girl with a Pearl Earring and the film of the same name are named after the painting; they present a fictional account of its creation by Vermeer and his relationship with the model.
Susan Vreeland's novel Girl in Hyacinthe Blue follows eight individuals with a relationship to a painting of Vermeer. The novel follows a reverse chronology from the current period to the time of Vermeer.
The young adult novel Chasing Vermeer by Blue Balliett centers around the fictitious theft of Vermeer's A Lady Writing.
Historian Timothy Brook's Vermeer's Hat: The Seventeenth Century and the Dawn of the Global World , examines six of Vermeer's paintings for evidence of world trade and globalization during the Dutch Golden Age.
Delft is a city and municipality in the province of South Holland (Zuid-Holland), the Netherlands. It is located in between Rotterdam and The Hague. Delft is primarily known for its typically Dutch town centre (with canals); also for the painter Vermeer, Delft Blue pottery (Delftware), the Delft University of Technology, and its association with the Dutch royal family, the House of Orange-Nassau.

The city dates from the 13th century. It received its charter in 1246.
For its development from a rural village in the early Middle Ages to a city in the 13th century see the article "Gracht", section "Delft as an example".

The association of the House of Orange with Delft began when William of Orange (Willem van Oranje), nicknamed William the Silent (Willem de Zwijger), took up residence in 1572. William was the leader at the time in the struggle against the Spanish, the Eighty Years' War.

Delft was one of the leading cities of Holland and was equipped with the necessary city walls to serve as a headquarters. When William was shot to death in 1584 by Balthazar Gerards in the hall of the Prinsenhof, the family's traditional burial place in Breda was in the hands of the Spanish. Therefore, he was buried in the Nieuwe Kerk (New Church), starting a tradition for the House of Orange that has continued to the present day.

The Delft Explosion, also known in history as the Delft Thunderclap, occurred on 12 October 1654 when a gunpowder store exploded, destroying much of the city. Over a hundred people were killed and thousands wounded.

About 30 tonnes of gunpowder were stored in barrels in a magazine in a former Clarissen convent in the Doelenkwartier district. Cornelis Soetens, the keeper of the magazine, opened the store to check a sample of the powder and a huge explosion followed. Luckily, many citizens were away, visiting a market in Schiedam or a fair in The Hague. Artist Carel Fabritius was wounded in the explosion and died of his injuries. Afterward, Egbert van der Poel painted several pictures of Delft showing the devastation.

The city center retains many old and historical buildings, and many streets have canals in the center, inhabited by fish and plants making this beautiful small city a tourist destination. Historical buildings include:

Oude Kerk (Old Church). Buried here: Piet Hein, Johannes Vermeer, Anthony van Leeuwenhoek.
Nieuwe Kerk (New Church), constructed between 1381 and 1496. It contains the Dutch royal family's burial vault, which between funerals is sealed with a 5000 kg cover stone.
The Prinsenhof (Princes' Court), now a museum.
City Hall.
The Oostpoort (Eastern gate), built around 1400. This is the only remaining gate of the old city walls.
The Gemeenlandshuis or Huyterhuis, built in 1505, which houses the regional water authority Delfland since 1645.
Waag (Delft)
Delft is well known for the Delft pottery ceramic products which were styled on the imported Chinese porcelain of the 17th century. The city had an early start in this area since it was a home port of the Dutch East India Company.

The painter Johannes Vermeer (1632–1675) was born in Delft. Vermeer used Delft streets and home interiors as the subject or background of his paintings.

Several other famous painters lived and worked in Delft at that time, such as Pieter de Hoogh, Carel Fabritius, Nicolaes Maes, Gerard Houckgeest and Hendrick Cornelisz. van Vliet. They all were members of the Delft School. The Delft School is known for its images of domestic life, views of households, church interiors, courtyards, squares and the streets of Delft. The painters also produced pictures showing historic events, flower paintings, portraits for patrons and the court, and decorative pieces of art
(TU Delft) is one of three universities of technology in the Netherlands. It was founded as an academy for civil engineering in 1842 by King William II. Today well over 16,000 students are enrolled.

The UNESCO-IHE Institute for Water Education, providing postgraduate education for people from developing countries, draws on the strong tradition in water management and hydraulic engineering of the Delft university.

INHolland university of applied sciences is also one of the higher institution in Delft and offers Aeronautical Engineering studies as one of its course

East of Delft is the Delftse Hout ("Delft Wood") recreation area, with a lake (suitable for swimming and windsurfing), narrow beaches, a small nudist area (not fenced off), restaurant, community gardens, campground and other recreational and sports facilities. There is a possibility to rent bikes at the station.

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