The artist would have been 24 at the time. Woman Holding a Balance offers a superb example of Johannes Vermeer’s exquisite sense of order and rhythm. More information? The painting’s subtext is reinforced by Vermeer’s refined composition and lighting. For example, he was the first artist to try soft grey for flesh, and to paint the shadows on the wall light blue. Related Works by Vermeer in the Collection, Johannes Vermeer, A Lady Writing, c. 1665, oil on canvas, Gift of Harry Waldron Havemeyer and Horace Havemeyer, Jr., in memory of their father, Horace Havemeyer, 1962.10.1, Attributed to Johannes Vermeer, Girl with a Flute, probably 1665/1675, oil on panel, Widener Collection, 1942.9.98, Johannes Vermeer, Girl with the Red Hat, c. 1665/1666, oil on panel, Andrew W. Mellon Collection, 1937.1.53. Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more, See more details about this work on the Rijksmuseum Website.
Blaeu, circa 1612, Vermeer's Little Street : a view of the Penspoort in Delft, Rembrandt in perspectief : de veranderende visie op de meester en zijn werk, Woman in blue reading a letter : Johannes Vermeer, Communication : visualizing the human connection in the age of Vermeer, Vermeer : leven en werk van een meesterschilder, De oude Meesters van de stad Amsterdam : schilderijen tot 1800, Vermeer : la ragazza alla spinetta e i pittori di Delft, De Hollandse meesters van een Amsterdamse bankier : de verzameling van Adriaan van der Hoop (1778-1854), Vermeer oder die Inszenierung der Imagination, Love letters : Dutch genre paintings in the age of Vermeer, Kunstzaken : over Rembrandt, Rubens, Vermeer en vele andere schilders, Zum Lobe der Frauen : Untersuchungen zum Bild der Frau in der niederländischen Genremalerei des 17.
Enjoying a quiet, private moment, this young woman is absorbed in reading a letter in the morning light. Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Brieflezende vrouw. The woman’s gaze at the balance, when considered in the context of the Last Judgment on the wall behind her, suggests that Vermeer, a Catholic, sought to infuse this work with religious and spiritual significance. 0, yesterday - 123 works All of the colours in the composition are secondary to its radiant lapis lazuli blue.
A large painting of the Last Judgment, framed in black, hangs on the back wall of the room. All of the colours in the composition are secondary to its radiant lapis lazuli blue. The device exaggerated spatial effects, and the projected image was probably not sharply focused. The jeweler’s balance in her right hand rests at equilibrium. Jahrhundert : Symposium Berlin 1984, Masters of seventeenth-century Dutch genre painting, Perspective optics and Delft artists around 1650, De schilderkunst in de tweede helft van de 17e eeuw, Johannes Vermeer : painter of Delft 1632-1675.
6. K. Clark, Connaissance des Arts (1974), p. 78.
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He was respected in artistic circles and elected headman of the Delft artists’ guild on several occasions. 846 Staatliche Kunstsammlungen Alte Meister (Gemäldegalerie Alte Meister), Dresden. He was born and died in the city of Delft, with which he is strongly associated. West Building Johannes Vermeer, The Procuress (De koppelaarster), 1656 .
The woman’s deep introspection causes the viewer momentary hesitation about intruding on this private, contemplative moment.
7th St and Constitution Ave NW Karin Leonhard, 'Vermeer's Pregnant Women : On Human Generation an Pictorial Representation', Art History 25 (2002) nr. 3, p. 293-318. In 1653 he registered as a master painter with the St. Luke’s Guild and had inherited Reynier’s art-dealing business the previous year. de Vries, Openbaar Kunstbezit 9 (1965), nr.
6th St and Constitution Ave NW Liza Burmeister Kaaring, 'Tracking the Language of Stillness', SMK Artjournal : Statens Museum for Kunst (2007), p. 108-115, p. 112, afb.
Dutch Painting in the Golden Age, NGA Online Editions Stay up to date about our exhibitions, news, programs, and special offers. In April 1653 he married a Catholic, Catharina Bolnes, whose mother, Maria Thins, exerted significant influence over the couple’s lives. His father Reynier was a weaver of fine cloth, which provided the family a comfortable living. A woman dressed in a blue jacket with fur trim stands serenely at a table in a corner of a room. Vermeer often incorporated blurred effects in his work, similar to those created by the camera obscura. Vermeer’s early ambition was to become a history painter.
The jeweler’s balance in her right hand rests at equilibrium. James A. Welu, 'Vermeer : his cartographic sources', The Art Bulletin 57 (1975), p. 532-533, 541, afb. Closed.
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