#Théophile Thoré-Bürger

[transparentgentlemenmarker]

Vermeer Painting Restoration Reveals a Portrait of Cupid Hidden for Over 350 Years

“Girl Reading a Letter at an Open Window” by Johannes Vermeer 1657-1659

The oil painting shows a young woman, finely dressed in yellow and black, reading a letter next to an open window. Originally, the wall behind her was blank, but a 1979 x-ray showed that there was actually something on it. Beneath the plain wall was actually a “painting” of a naked Cupid. As it was not uncommon for artists to paint over their work, scholars initially accepted that Vermeer had simply changed his mind and decided to keep the wall bare. the painting was initially attributed to other artists. But in 1880, French art critic Théophile Thoré-Bürger came upon the painting and correctly attributed it to the Dutch Master

#vermeer #art #painting #tableau

[nebris]

Théophile Thoré-Bürger (23 June 1807 – 30 April 1869) was a French journalist and art critic. He is best known today for his rediscovery of the work of painter Johannes Vermeer and several other prominent Dutch artists, such as Frans Hals. This portrait photograph of Thoré-Bürger was taken by the French photographer Nadar.

Photograph credit: Nadar; restored by Adam Cuerden

[redazionecultura]

#théophile thoré-bürger

[history-and-arts]

Johannes Vermeer

Vandaag op 31 oktober 1632 werd Johannes Vermeer geboren/gedoopt in Delft. Hij is tegenwoordig een immens populaire schilder uit de Nederlandse Gouden Eeuw die vooral alledaagse taferelen schilderde. Hij was echter niet zo populair tijdens zijn leven waardoor er ook maar weinig bekend is over hem. Zelfs zijn geboortedag is niet zeker, we weten alleen dat hij gedoopt is op 31 oktober.  

Wat we wel weten is dat Johannes werd geboren in Delft. Zijn vader, Reynier Jansz Vos (alias van der Meer) was een satijnwever en een kunsthandelaar. Het is echter onbekend wanneer Johannes begon met schilderen en wie zijn leermeesters waren. Er zijn vermoedens dat misschien Carel Fabritius zijn leermeester was maar dit is onzeker.

In 1653 trouwde Johannes met Catharina Bolnes, een vrouw uit een welgestelde katholieke familie. Johannes was zelf een protestant en liet zich bekeren tot het Katholieke geloof om met Catharina te trouwen, samen kregen ze elf kinderen. Verder werd hij in datzelfde jaar ook lid van het Sint-Lucasgilde, een kunstenaarsgilde.

Johannes' werk is hoogstwaarschijnlijk beïnvloed door de kunst van Utrechtse Caravaggisten. Meer dan de helft van zijn werken lijken echter in opdracht zijn gemaakt door maar één iemand, een vriend van Johannes, Pieter Claesz van Ruyven. Dit laat ook weer zien dat Vermeer geen populaire schilder was tijdens zijn leven.

Vlak na het rampjaar van 1672, veroorzaakt door oorlogen, stortte de hele kunsthandel in waardoor Johannes in zware geldproblemen kwam. Als wij de verhalen van zijn vrouw kunnen geloven, zakte Johannes Vermeer langzaam weg in een diepe depressie en in december 1675 stortte Vermeer plotseling in en stierf een dag later.

Dit is een verklaring van zijn vrouw: "Dientengevolge en ook vanwege de belasting van zijn kinderen, terwijl hij van zichzelf geheel niet over middelen beschikte, raakte hij zozeer in razernij en verval, dat hij in één of anderhalve dag van een gezonde toestand overging in de dood."

Vermeer liet elf kinderen achter, waarvan tien nog minderjarig waren, en werd begraven in de oude kerk in Delft. Na zijn dood, raakte Vermeer en zijn werken in complete vergetelheid totdat hij werd 'herontdekt' in 1866 door een Fransman Théophile Thoré-Bürger. Théophile schreef een monografie over Vermeer's leven en sprak erg positief over zijn 'alledaagse taferelen' werken.

Hierdoor werd Vermeer weer bekend en begon men met het zoeken naar zijn werken. Deze klopjacht naar de schilderijen van Vermeer maakte hem alleen maar bekender en bekender. Tegenwoordig is hij een van de meest befaamde schilders uit de Nederlandse geschiedenis.

Hier zijn een paar van zijn werken: Meisje met de parel (1665-1667), Het melkmeisje (1658-1661) De soldaat en het lachende meisje, Gezicht op Delft (1660-1661)

#Art #History #Dutch #Painting #Painter #Golden Age #Johannes Vermeer #Vermeer

[wastedwinter]

“A little piece of nothing, but very good, and extremely valuable on account of the signature of the man to whom Vermeer is connected […] It is a simple studio study, or sketch, after nature, of a goldfinch sitting on its perch, attached to a washed out wall, that calls to mind the bright bleached backgrounds that Vermeer was apparently so fond of.”

- French art critic Théophile Thoré (alias William Bürger) 1859 regarding Carel Fabritius “The Goldfinch” (Dutch: Het puttertje) 1654

#donnatartt #thegoldfinch #hetputtertje #fabritius #carelfabritius #art #painting #dutchgoldenage

[toosvanholstein]

Vergankelijkheid van zowel kunst als kunstenaar

De vergankelijkheid van kunst, Toos van Holstein filosofeert over vermeer, Alma tadema en Poen de Wijs. Ja, ook die! Lees maar. #art#kunst

Dat een kunstenaar vergankelijk is, dat moge duidelijk zijn. We eindigen allemaal, dus zelfs ook kunstenaars, als een stel botjes in een kist of als een hoopje as in een urn. Maar kunst vergankelijk? Nou reken maar! Dan hoef je alleen maar te denken aan ‘onze eigen’ Johannes Vermeer (1632-1675). Na de 17de eeuw helemaal weggezakt in het kunstgeheugen van de Lage Landen. Tot de Franse…

View On WordPress

#acryl #Alma-Tadema #Apple #aquarel #Delft #Flairck #Fred delfgauw #Galerie De Twee Pauwen #iBooks #iTunes #John Vijlbrief #Mini & Maxi #olieverf #Poen de Wijs #prostaatkanker #Sjaak Bral #Théophile Thoré-Bürger #Vermeer #YouTube

[fundgruber]

In den guten Zeiten der Kunst, da sie ein schöpferisches Wirkungsvermögen hatte, sah man nie Museen. Sie sind die Friedhöfe der Kunst, Katakomben, in denen man in einem Durchein- ander von Grabmälern die Reste einstigen Lebens zusammenträgt : eine wollüstige Venus neben einer mystischen Jungfrau, einen Satyr neben einem Heiligen, Luther gegenüber dem Papst, ein Boudoirbild als Gegenstück zu einem Altarwerk. Was für eine Kirche, einen Palast, ein Rathaus, ein bestimmtes Gebäude ausgeführt wurde, für diese oder jene ganz bestimmte moralische oder historische Bedeutung, für eine besondere Beleuchtung, mit diesem oder jenem ganz bestimmten Zubehör, das alles hängt man wirr durcheinander an die Wände eines neutralen Stapelplatzes, einer Art posthumer Herberge, — einer toten Stadt — zu der Geschlechter, denen die Schöpferkraft abhanden kam, hinwandern, um die erhabenen Trümmer zu bewundern. In den Epochen kräftigen und organischen Lebens, in Griechenland und im Mittelalter, gibt es keine Museen, außer den Gebäuden, in denen sich das soziale, religiöse, politische und Wirtschaftlichehe Leben selbst abspielte, — die Tempel, die Foren, Gynaikeion und Circus, die Kirchen, Klöster, Rathäuser, Korporationshallen usw.

Théophile Thoré Bürger, W. Bürger's Kunstkritik; Deutsche Bearbeitung, 1908 S. 384

#art history #museum

[fuzzysparrow]

Which Dutch painter did French art critic Théophile Thoré-Bürger nickname “The Sphinx of Delft”?

Relatively little is known about Johannes Vermeer’s personal life other than where he had lived, which earned him the nickname “The Sphinx of Delft” from French art critic Théophile Thoré-Bürger (1807-69). In more recent years, art historians have been able to piece together some semblance of a biography using documents in the city archives of Delft. Records reveal Johannes Vermeer, or Jan Vermeer van Delft, was born in October 1632 and baptised within the Reformed Church on All Hallow’s Eve.

It is unknown where and when Vermeer learnt to paint. Art critics have suggested several names of artists who may have trained the young painter but there is no written evidence. Another suggestion is he taught himself using the paintings his father sold, however, this is unlikely. If it were not for Vermeer’s baptismal records, it would seem as though he suddenly appeared, fully formed, in 1653 when he joined the Guild of Saint Luke and married his wife, Catharina Bolnes (1631-88).

Of all Vermeer’s paintings, 'Girl with a Pearl Earring' ('Meisje met de parel', 1665) is the most recognised. The painting is a “tronie”, which is Dutch slang for a painting of a head that is not meant to be a portrait. The unknown model, whose colouring suggests she is European, wears an oriental dress and turban. The story behind the painting remains unknown.

In December 1675, 43-year-old Vermeer fell ill and passed away. His paintings were sold by his family to pay his many debts.

#Trivia #johannes vermeer

[bm2ab]

Arrivals & Departures October 1632 – December 1675

Johannes Vermeer (UK: /vɜːrˈmɪər, vɛərˈmɪər/, US: /vərˈmɪər, vərˈmɛər/, Dutch: [joːˈɦɑnəs fərˈmeːr]; October 1632 – December 1675) was a Dutch Baroque Period painter who specialized in domestic interior scenes of middle class life. He was a moderately successful provincial genre painter in his lifetime but evidently was not 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, and frequently used very expensive pigments. He is particularly renowned for his masterly treatment and use of light in his work.

Vermeer painted mostly domestic interior scenes. "Almost all his paintings are apparently set in two smallish rooms in his house in Delft; they show the same furniture and decorations in various arrangements and they often portray the same people, mostly women."

He was recognized during his lifetime in Delft and The Hague, but 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 66 pictures to him, although only 34 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. Like some major Dutch Golden Age artists such as Frans Hals and Rembrandt, Vermeer never went abroad. And like Rembrandt, he was an avid art collector and dealer.

Johannes Vermeer addiction to Lapis Lazuli The Woman Reading a Letter (1663) The Girl with the Pearl Earring (1665) The Geographer (1668) Credits: ganymedesrocks

This Johannes Vermeer painting holds two salient pieces of information, both directly and indirectly visual, but quite revealing.  First things first, this painting is not that of The Geographer, but more accurately that of The Astronomer, a 1668 painting that classifies as a late Vermeer.  That period setting is what leads to eventually our second information, as it relates to Vermeer coloring as he was known to be addicted to Lapis Lazuli, which at his time, was the only reliable alternative to warrant the intense blues he lived for.  Ultramarine blue could not be sourced differently, but it was ruinous.  For a painter who had the reputation of not selling more than three works per annum, his indebtment grew faster than his ability to build on savings.  So, from The Woman Reading a Letter (1663) and after The Girl with the Pearl Earring (1665), Vermeer progressively ‘dimmed’ the vibrancy of his blues, which although not a scientifically accurate method to date works, help in predicting or in confirming the position of certain of his works amidst his oeuvre timeline. ganymedesrocks ‘visited’ all of the iconography for the referenced [original] works, which optically, substantiate the suggested reasoning.  We will post The Geographer for you all to appreciate.

[best-of-canvas]

Johannes Vermeer Genre Painter via /#bestofcanvas

Johannes Vermeer Genre Painter

Johannes Vermeer Genre Painter ( October 1632 – December 1675) was a Dutch Baroque Period painter who specialized in domestic interior scenes of middle-class life. He was a moderately successful provincial genre painter in his lifetime but evidently was not 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, and frequently used very expensive pigments. He is particularly renowned for his masterly treatment and use of light in his work.

Vermeer painted mostly domestic interior scenes. “Almost all his paintings are apparently set in two smallish rooms in his house in Delft; they show the same furniture and decorations in various arrangements and they often portray the same people, mostly women.”

He was recognized during his lifetime in Delft and The Hague, but his modest celebrity gave way to obscurity after his death. He was barely mentioned in Arnold Houbraken’s major sourcebook 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 66 pictures to him, although only 34 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. Like some major Dutch Golden Age artists such as Frans Hals and Rembrandt, Vermeer never went abroad. And like Rembrandt, he was an avid art collector and dealer.

SOURCE

Submitted September 04, 2019 at 12:25PM via #bestofcanvas https://www.reddit.com/r/u_HoustonCanvas/comments/czopve/johannes_vermeer_genre_painter/?utm_source=ifttt

#bestofcanvas

[clintonpittmansblog]

The Guitar Player

Johannes Vermeer

1670-72

The Guitar Player is a painting by Johannes Vermeer, and is on display in Kenwood House, London. Together with the Lacemaker (Louvre, Paris), this painting constitutes one of Vermeer’s greatest achievements, and certainly a towering success in his late maturity. By then, the artist had attained the mastery of light and colors, together with complete freedom of expressing himself technically by means of looser brushstrokes that are no longer bound to specifics of texture or materials. The model is not drawn inward but looks to the outside world in full communication and radiance of her pleasure simply to make music.

Johannes (a/k/a Jan or Johan) Vermeer was a Dutch painter who specialized in domestic interior scenes of middle-class life. Vermeer was a moderately successful provincial genre painter in his lifetime. He evidently was not 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, and frequently used very expensive pigments. He is particularly renowned for his masterly treatment and use of light in his work.

Vermeer was rediscovered by Gustav Friedrich Waagen and Théophile Thoré-Bürger, who published an essay attributing 66 pictures to him, although only 34 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.

[nofomoartworld]

Hyperallergic: An Online Exhibition Asks: What Makes “The Goldfinch” So Special?

“The Goldfinch, a Bird’s-Eye View” from the Mauritshuis (screenshot by the author for Hyperallergic)

In a new online exhibition for its popular 1654 Carel Fabritius painting “The Goldfinch,” the Mauritshuis museum in the Hague asks, “What makes this little bird so special?” The Goldfinch, a Bird’s-Eye View explores the history, influences, techniques, and sudden death of the bird’s creator, as well as its recent surge in popularity with Donna Tartt’s Pulitzer-winning 2013 book The Goldfinch.

Carel Fabritius, “The Goldfinch” (1654), oil on panel (via Royal Picture Gallery Mauritshuis/Wikimedia)

However, the Dutch museum chronicles how the painting was admired long before its turn in fiction. Combining video, audio, pop-up historical facts, CT scan studies, narration in English and Dutch, and a smooth scrolling platform, The Goldfinch, a Bird’s-Eye View delves deep into the painting’s past. After disappearing following Fabritius’s death at the age of 32 in the Delft Explosion of 1654, the same year as he made “The Goldfinch,” the painting resurfaced in 1859 Brussels.

One of its first recorded fans was French art critic Théophile Thoré-Bürger, who in 1859 described it as “[a] little piece of nothing, but very good.” His quote opens the interactive exhibition, which also explores Fabritius’s connections to his teacher Rembrandt and to artists such as Vermeer, with his use of cool color, and the symbolism of the goldfinch.

Encountering a pet goldfinch like the one chained in Fabritius’s trompe l’oeil would not have been unusual in the 17th century, when the birds were prized for their chirping songs and cleverness. Their name in Dutch — puttertjes, or “little water drawers” — refers to their trick of drawing their own water by pulling up a small bucket or thimble.

Goldfinches also had a spiritual significance when they appeared in art. As the story goes, one pulled a thorn from the crown of Jesus on the cross, the sprayed blood staining its face red for the rest of time. The Goldfinch, a Bird’s-Eye View is full of such illuminating tidbits. For a painting that has been at the Mauritshuis since 1896, and has traveled so extensively around the world — both in the flesh and through fiction — the online exhibition offers a rich look at the many sides of a familiar work of art.

“The Goldfinch, a Bird’s-Eye View” from the Mauritshuis (screenshot by the author for Hyperallergic)

“The Goldfinch, a Bird’s-Eye View” from the Mauritshuis (screenshot by the author for Hyperallergic)

The Goldfinch, a Bird’s-Eye View is available to explore online from the Mauritshuis.

The post An Online Exhibition Asks: What Makes “The Goldfinch” So Special? appeared first on Hyperallergic.

from Hyperallergic http://ift.tt/2lxhp1T via IFTTT

#IFTTT #Hyperallergic

[best-of-canvas]

Johannes Vermeer Painter via /#bestofcanvas

Johannes Vermeer Painter

Johannes Vermeer October 1632 – December 1675) was a Dutch Baroque Period painter who specialized in domestic interior scenes of middle-class life. He was a moderately successful provincial genre painter in his lifetime but evidently was not 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, and frequently used very expensive pigments. He is particularly renowned for his masterly treatment and use of light in his work. Vermeer painted mostly domestic interior scenes. “Almost all his paintings are apparently set in two smallish rooms in his house in Delft; they show the same furniture and decorations in various arrangements and they often portray the same people, mostly women.” He was recognized during his lifetime in Delft and The Hague, but his modest celebrity gave way to obscurity after his death. He was barely mentioned in Arnold Houbraken’s major sourcebook 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 66 pictures to him, although only 34 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. Like some major Dutch Golden Age artists such as Frans Hals and Rembrandt, Vermeer never went abroad. And like Rembrandt, he was an avid art collector and dealer.

Source

Submitted August 27, 2019 at 10:57AM via #bestofcanvas https://www.reddit.com/r/u_HoustonCanvas/comments/cw77kw/johannes_vermeer_painter/?utm_source=ifttt

#bestofcanvas