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Author: admin | 22.04.2016 | Category: Ear Drops For Tinnitus

The Girl with a Pearl Earring by the Dutch painter Johannes Vermeer is one his major masterpieces. Vermeer had never have identified any sitter posing for any of his portraits and that includes the young woman who posed for the Girl with a Pearl Earring painting.
The light effects and the highlights on the turban on the girls’ head are a trademark that belongs to Vermeer.
The dark background of the painting helped to create a three-dimensional feeling to the subject of the painting. Vermeer’s use of light was dramatized by the white-based undercoat that intensified the reflective surfaces of the pearl earring as well as the eyes and lips of the girl in the painting. Vermeer’s daughter was the girl with the pearl earring and painted later Vermeer works. One historian suggests she was actually the artist who painted a fifth of the works attributed to Vermeera€”his daughter. Johannes Vermeer’s iconic Girl With a Pearl Earring has arrived at the Frick Collection in New York, drawing unprecedented crowds. But the evidence suggests Vermeer’s daughter Maria was his likely model and a crucial part of his art. Vermeer was the greatest of the Dutch genre painters, who took their subject matter from everyday life.
Vermeer himself tells us this in his Art of Painting, his visual testament to his ambitions.
Since 1949, the girl has been called Clio, the muse of history writing, following the conventional notion that history was the highest category of art. It is the more conservative scholars who apply an anachronistic, premodern paradigm of art as illustrating an institutional (historical) message.
Surprisingly, given the number of monographs devoted to Vermeer’s relatively few paintings, no scholar put forward an account of his gradual painting-by-painting development before my 2009 book.


In his Art of Painting, Young Woman With a Pearl Necklace, and Girl With a Pearl Earring, scholars recognized the same beautiful young model who resembles Vermeer’s wife in earlier compositions. Most intriguingly, two of the misfit paintings, Girl With a Flute and Girl With a Red Hat, have been associated with or even identified as self-portraits, and together with a third, Girl Interrupted, also in the Frick, appear to portray the same model as Girl With a Pearl Earring.
These ideas, the subject of an all-day symposium at the New York Institute for the Humanities at New York University last spring, are admittedly speculations.
Benjamin Binstock is a specialist in Renaissance and Baroque art and art historical method. More provocatively, I believe that Maria Vermeer was also a gifted artist who painted roughly one-fifth of the works currently assigned to her father.
Rembrandt had already used himself and other family members as models for historical roles, and such models were even more appropriate for genre scenes. The composition shows a painter seated at his easel from behind, dressed in an old-fashioned Netherlandish costume, painting a young girl adorned with laurel and holding a trumpet and book. Vermeer was instead a pioneer of the modern paradigm of art as expressing the artist’s unique circumstances, experiences, and sensibilities, a paradigm first articulated in texts from the Romantic period. Maria was born around 1654 and would have been 13, 15, and 16 if the paintings in question are dated 1667, 1669, and 1670, respectively. Since the Frick paintings cannot travel, the present exhibition offers the only possibility of comparing the originals in proximity.
Yet no one has previously sought to identify the models in these paintings in a systematic way, account for the misfit paintings, or explain Vermeer’s painting-by-painting development.
The painter is often identified as Vermeer based on his comparable hair and costume in his Procuress of 1656. The plainer model in Vermeer’s Girl Writing, Girl With a Guitar, and Lacemaker, who resembles Vermeer in his dated self-portraits, would have been his second daughter, Lijsbeth. Dates now assigned to Vermeer's paintings are also often too early, because they are not based on a painting-by-painting account of his development, include the misfit paintings, and do not take into consideration his models and their approximate ages.


These factors are inextricably linked in the ongoing process of understanding Vermeer’s work, including Girl With a Pearl Earring and might ultimately lead to the discovery of another unrecognized genius. Many Vermeer scholars dismiss that notion as a Romantic anachronism, a projection onto an earlier period of a modern view of art as a reflection of the artist’s circumstances.
But no one sought to address Vermeer’s use of family models in a systematic way, and some rejected the possibility altogether.
Earlier authors had questioned each of these misfits as possibly painted by a pupil or one of his children but did not pursue that possibility or the paintings as a group. If so, despite her technical challenges, she surpassed her father in psychological intimacy.
Vermeer did not register any pupils, but his follower could have been one of his children, whom he did not need to register, most plausibly Maria. Girl With a Red Hat, which would portray her at about 18 around 1672, also offers an astounding virtuoso display, including what may be the most fascinating (albeit implausible) headgear in the history of art. Two misfits, Mistress and Maid in the Frick Collection and Woman With a Lute, were also traded against a huge debt to a baker after the deaths of Vermeer and his patron, who bought Vermeer’s Lacemaker, his last painting.
My poster at home is from prior to the 1994 restoration so her face looked all crckledc, but not in person. That is, the paintings were sold and possibly produced as forgeries to alleviate the family’s financial straits. Perhaps partly because of these circumstances, she does not appear to have pursued painting after her marriage and her father’s death.



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