"W
hen Frederik Vanmeert stands in front of a Johannes Vermeer painting, the temptation to go close is irresistible. In Amsterdam’s Rijksmuseum, where he works as a heritage scientist, it’s not hard to satisfy this craving for intimacy; patrons are free to get personal with the art. Viewers of Rembrandt’s
The Night Watch can approach within a metre of the canvas, while the museum’s four Vermeers, hanging nearby, offer an even more intimate experience. Viewers may, if the moment moves them, lean in within centimetres, though the security guard posted nearby will likely wag a disapproving finger. Still, even millimetres are an interminable chasm for Vanmeert. He’s seen Vermeer’s work in finer detail than most—at the microscopic level, down to the crystal latticework of the pigments that structure the language of the seventeenth-century Dutch painter’s artistic vision. ..."
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’, 2021 December: Okay Cupid: Reopening Vermeer’s love letter to contradiction, 2022 October: A New Brushstroke Analysis Reveals Vermeer., 2023 May: Seeing Beyond the Beauty of a Vermeer
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