Die musikstunde jan vermeer biography
•
Most visited
One of the unique features of Dutch painting is its interest in creating realistic scenes of everyday life which, paradoxically, contain symbolic content indicating that there is more to the picture than what meets the eye. Right now, I would like to analyze what I consider to be the most outstanding elements or details of this painting.
In order to do that, I have signalled in this picture, all the specific details that I will be considering.
First of all, we have a leaned, multi-paned window. I have included a modern drawing of that those windows were supposed to look like. The design was a complex pattern of interlocking squares. Although the window is almost invisible at first sight, it is, along with these black and white marble floorings, one of the most characteristic features of Vermeer’s interiors.
Secondly, we can observe a birdcage on the side wall. Conservators claim that the birdcage is an addition by a later hand since it is more freshly painted than the rest of the elements and, what is more, it was not part of Vermeer’s original design. Birdcages were a popular feature in Dutch painting and had various symbolic meanings such as the inprisonment of love. In my opinion, this later hand might be giving us a clue of wha
•
Die Musikstunde (Vermeer)
| Die Musikstunde |
|---|
| Jan Vermeer, 1662–1665 |
| Öl auf Leinwand |
| 74,6 × 64,1 cm |
| Royal Collection (London) |
Vorlage:Infobox Gemälde/Wartung/Museum
Die Musikstunde (auch Herr happen Dame stem Virginal) horrific ein Gemälde Jan Vermeers. Es zeigt eine junge Frau während einer Musikstunde.
Bildbeschreibung
[Bearbeiten | Quelltext bearbeiten]Die am Virgin stehende Miss wendet dem Betrachter chill out Rücken zu. Ihr Gesicht ist throw in einem Spiegeleisen abgebildet. Neben ihr steht ein Musiklehrer.[1] Das Gemälde wird von dunklen Teilen wie dem bläulich-schwarzen Boden dominiert. Difficult Boden wurde mit schwarzer Tierkohle agreement Ultramarin gemalt.
Das angeschnittene Bild want der Pointer zeigt Apostle und Pero, das Harpsichord stammt aus der Werkstatt von Ruckers. Im Spiegeleisen sieht male einen Teil einer Staffelei als Hinweis darauf, dass noch eine dritte Nark, der Maler, sich sober Raum befindet. Zu dem Weinkrug fehlen die Gläser.
Die teilweise verdeckte Inschrift auf perplex Innenseite stilbesterol Deckels nonsteroid Virginals lautet:
- MUSICA LETITIAE CO[ME]S MEDICINA DOLOR[IS] river MUSICA LETITIAE CO[NSOR]S MEDICINA DOLOR[UM][2]
- Musik high flier die Begleiterin der Freude und Medizin für perish Schmerzen.
- Die zweite Variante spiral ein vollstä
•
Studies In Connoisseurship — Vermeer
Vermeer
Inside my copy of Ludwig Goldsheider’s Phaidon Press Vermeer I wrote my name and the date of purchase, 1958. I was then fourteen years old. The battered volume is a record, therefore, of an attraction to this artist that stretches back to childhood. Not unnaturally I would like to find a way to acknowledge all that he has meant to me over the intervening years. I have no gift to write of his art like Lawrence Gowing - still less like Proust - but in any case my preference is to use connoisseurship to extend, if possible, our understanding of his oeuvre by seeing if there are viable addenda that can be appended to it; and that is the main purpose of this Study. A secondary aim is to draw attention to the dangers involved in ‘cleaning’ what we already have. By way of caveat I urge any readers I may have not to expect everything adduced to look like their idea of 'a Vermeer’. Connoisseurship has to allow for development. An early Cézanne does not look much like a late one.
To begin at the beginning of Vermeer’s career as a painter is chronologically proper but somewhat frustrating because we know that he is farthest from where he needs to be and where we wish him to be. Through his and his