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Jan Vermeer
's works |
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| Biography: |
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Jan Vermeer
(1632-1675)
The esthetic tastes of nowadays rank Jan Vermeer as one of the most original painters of 17th century Holland, despite the fact that he created no more than forty or so paintings. He remained relatively ignored during his own brief lifetime, and only in the 19th century his work was highly appreciated.
Jan Vermeer (or Jan van der Meer, or Jan Vermeer van Delft) was born in 1632, the second child of Reynier Janszoon Vos and Digna Baltens. Reynier, besides his other businesses, was an art dealer and had relations with some artists of his time, including Balthasar van der Ast, Pieter Steenwyck, and Pieter Groenewesen. Maybe these contacts gave the young Vermeer his first artistic inclination. Nothing is known about his training as a painter, but in 1653 he was admitted as a master to the Guild of St. Luke, which united painters in all genres, glass makers, faience makers, embroiderers and art dealers; as a precondition for being admitted was an obligatory six-year training with a master, recognized by the Guild.
On 20 April 1653 Vermeer married Catharina Bolnes, who bore him 15 children, 4 of them died when still very young.
Vermeer probably painted very little for the public art market, most of his work being produced for those patrons who particularly valued his work. This may also account for the modest number of paintings he produced.
Christ in the House of Mary and Martha (c.1654-1655) is one of Vermeer¡¯s earliest paintings. Paintings of biblical themes were classified as histories, which were described in treatises on art as most distinguished tasks. Vermeer probably wanted to demonstrate his abilities in this genre upon entry to the Guild of St. Luke. Diana and Her Companions (c.1655-1656) is another early work by Vermeer; the theme on this occasion derives from mythology. These themes are not typical of Vermeer. He almost always chose as subject matter glimpses of daily life, and almost invariably interiors, though there are in his heritage a couple of views of Delfi: Street in Delfi (c.1657-1658), View of Delfi (c.1660-1661). His paintings are calm with very few figures, generally no more than one or two, usually women alone (women in love, reading or writing love letters, playing musical instruments; women at work). Vermeer offers the most impressive reflection of the sophisticated side of seventeenth-century Dutch life; its love for fine furniture, attractive women, lavish clothing, and maps decorating interiors: The Art of Painting (c.1666-1673), Woman with a Water Jug (c.1664-1665) and others. The role of maps was twofold; on the one hand, they indicated wealth, in the seventeenth century, maps were an expensive luxury; on the other hand, they refer to a good level of education.
Vermeer¡¯s pictures.... |
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