“In Dresden, a city renowned for the picture-perfect restoration by which it looks the same and yet entirely strange, an old tale of love and deception is playing out. Since Vermeer’s Girl Reading a Letter at an Open Window, c. 1657–59, arrived in the Saxon capital from Paris in 1742, a girl in a green dress has been intently studying a letter by pale daylight against a white wall. As other of the Dutch master’s pictures, and indeed many of those made by his contemporaries, tend to do, the unadorned interior offers no clue as to what she might be thinking. Instead, what long impressed viewers about this particular girl was her apparent modernity. She was free, it seemed, of mythology and religion, exemplifying a unity of form and substance, a kind of pure presence. ...”
2009 September: Vermeer's Masterpiece, The Milkmaid, 2011 February: Vermeer: Master of Light, 2013 October: Vermeer, Rembrandt, and Hals: Masterpieces of Dutch Painting from the Mauritshuis, 2015 December: This Is Not a Vermeer ™, 2017 January: The Art of Painting (1665–1668), 2021 December: Museum rivalry ‘could make Dutch Vermeer show last of its kind’
No comments:
Post a Comment