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Focusing on the extraordinary Lacemaker from the Musée du Louvre, this beautiful book investigates the subtle and enigmatic paintings by Johannes Vermeer that celebrate the intimacy of the Dutch household. Moments frozen in paint that reveal young women sewing, reading or playing musical instruments, captured in Vermeer's uniquely luminous style, recreate a silent and often mysterious domestic realm, closed to the outside world, and inhabited almost exclusively by women and children.
Three internationally recognized experts in the field explain why women engaged in mundane domestic tasks, or in pleasurable pastimes such as music making, writing letters, or adjusting their toilette, comprise some of the most popular Dutch paintings of the seventeenth century. Among the most intriguing of these compositions are those that consciously avoid any engagement with the viewer. Rather than acknowledging our presence, figures avert their gazes or turn their backs upon us; they stare moodily into space or focus intently on the activities at hand. In viewing these paintings, we have the impression that we have stumbled upon a private world kept hidden from casual regard.
The ravishingly beautiful paintings of Vermeer are perhaps the most poetic evocations of this secretive world, but other Dutch painters sought to imbue simple domestic scenes with an air of silent mystery, and the book also features works by some of the most important masters of 17th-century Dutch genre painting, among them Gerard ter Borch, Gerrit Dou, Pieter de Hooch, Nicolaes Maes, and Jan Steen.
- Sales Rank: #1652458 in Books
- Published on: 2011-12-28
- Original language: English
- Number of items: 1
- Dimensions: .86" h x 8.59" w x 10.54" l, 2.63 pounds
- Binding: Hardcover
- 224 pages
About the Author
Marjorie E. Wieseman is curator of Dutch paintings 1600–1800 at the National Gallery, London. Wayne E. Franits is professor and chair of the Department of Fine Arts, Syracuse University. H. Perry Chapman is professor of art history at the University of Delaware.
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20 of 20 people found the following review helpful.
Marjorie E. Wieseman, "Vermeer's Women: Secrets and Silence"
By Kenneth Hughes
This book is the catalogue that accompanied the exhibition of the same name held at the Fitzwilliam Museum in Cambridge, England, from October 2011 to January 2012. Johannes Vermeer's celebrated canvas "The Lacemaker" (ca. 1670) was lent by the Louvre in an exchange of paintings, and the Fitzwilliam decided to construct a whole exhibition around it. They managed to get Marjorie Wieseman, Curator of Dutch Paintings at the National Gallery in London, to guest-curate the show and edit the catalogue. What is meant by "Secrets and Silence" is immediately apparent to anyone even fleetingly familiar with Vermeer's paintings and those of many of his colleagues. There are so many women in these works, and they seem almost universally enigmatic: What is she doing? To whom and what is she writing? What can possibly be in the letter she's reading? What is she thinking, what is she feeling, what is she hiding? And, above all, why is she hiding herself from us, refusing even to acknowledge our presence? Why so secretive, so silent, so self-absorbed? (Indeed, a great many of these paintings are excellent exemplars of that specific kind of painterly "absorption" that Michael Fried analyzed so fruitfully in the French painting of the following century.) Depictions of women reading, writing, making music, or engaged in some entertaining pastime or light household duty within an orderly, prosperous, and elegantly appointed domestic space are such a familiar sub-genre of the thousands of Dutch genre paintings produced in the second half of the 16th century that we must wonder that, as is stated in the "Director's Foreword," they had never before been made the specific focus of an exhibition.
The volume itself consists of three essays and an annotated catalogue of the thirty-two works exhibited. Dr. Wieseman's introductory essay discusses the ways in which the paintings are deliberate artistic productions using everyday realities as points of departure but in no way bound by them; the artistic project is to manipulate and reinterpret the physical appearance of a typical upper-class Dutch home so as to maximize visual interest and enhance sensory experience--but without leaving the realm of reality. There is much fascinating information here on the discrepancy between the actual interiors, for example, and their conventionalized appearance in the works. You know those "typical" marble-tiled floors? Very common in the paintings (where they function beautifully as perspectival devices), but very rare in the houses. And the nice, evenly lighted interior spaces? No; these were row houses with windows only at front and back and maybe--if large enough--on an interior courtyard. Therefore the need for all the beautiful chandeliers? Sorry; very uncommon--etc. In "Inside Vermeer's Women," H. Perry Chapman, Professor of Art History at the University of Delaware and the author of books on Rembrandt and Jan Steen as well as on Vermeer, views these scenes of domestic interiors as a metaphor for a kind of "interiority" that includes women; she analyzes how Vermeer constructed the homes and put the women inside them. They are highly idealized spaces, appropriate environments for the female self-hood the women represent and for the self-conscious exercise of authority over the entire domestic domain. Prof. Wayne Franits of Syracuse Unversity, who has written many books on 17th-century Dutch and Flemish art presents here "Living in the Lap of Luxury: Vermeer, his Admirers and his Patrons," in which he makes clear how very successful and admired Vermeer was and how eagerly his paintings were sought after by wealthy collectors. One couple in Delft based their extensive art collection on twenty one paintings by Vermeer and may have had something like the right of first refusal to purchase his works. The wealth of such patrons seems to have persuaded Vermeer to concentrate, after "The Milkmaid" of 1657/58 , on ever more elegant figures in ever more sumptuous surroundings, as wealthy people wanted pictures that would reflect their own social standing and purchasing power. Franits points out, for example, that the clavichords and virginals that are played by so many young women in the paintings were in fact prohibitively expensive and could be bought only by the very wealthy. And they were willing to pay dearly for art, too; at a time when the average painting cost fifteen to thirty guilders, Vermeer and some other painters at the high end of the market regularly commanded up to a thousand guilders, i.e., twice the average annual middle-class salary, and enough to purchase a modest house: in many cases, it was not only the patrons who were living in luxury.
The book itself is beautifully produced. The thirty two catalogue entries are reproduced full-page and faced with a full-page commentary and a detail from the canvas. In addition, there are some ninety reference plates within the essay section, at least thirty of them also full-page and many others approaching that. Much of the discussion in the texts is illustrated with details from the plates or catalog entries, which greatly facilitates comparison and relieves the reader of a lot of page-flipping. The reproductions themselves are magnificent: clear and crisp and in excellent color. No one interested in Vermeer or any of his colleagues in this period of Dutch painting will want to be without this fascinating and superbly produced book.
0 of 1 people found the following review helpful.
Vermeer is so neat .
By oldtora
Vermeer is the highest , way the highest .
1 of 13 people found the following review helpful.
Excellent!
By E. Donaldson
I saw this exhibition at the Fitzwilliam Museum in Cambridge, England, November 2011. "The Lace Maker" was not at the Louvre when I was there in early November; it was in Cambridge. I'm so happy to have seen it in person!
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