The recently restored Girl Reading a Letter at an Open Window by Johannes Vermeer is often said to be that of a young woman reading a love letter. It seems to me that nothing can be further from the truth. In fact, Vermeer left several breadcrumbs to lead us to the conclusion that it is not a love letter.
It is not surprising that Vermeer was attracted to the sciences. The parallel growth of art and science during the Dutch Golden Age was unlike any other time in history. Vermeer portrayed scientists at work in The Astronomer and The Geographer. In both of these paintings, he used Anthony van Leeuwenhoek as a model.
It is impossible to name the “best” of Vermeer’s paintings, but the iconic View of Delft is always on such lists. Perhaps the most well-known cityscape in art history, the painting shows a calm morning view of Delft—the town where Vermeer was born, where he died, and where he spent virtually all of his life. How well do you think you know this painting?
Vermeer ended his artistic career with two pendant paintings which tell us a bit about his thoughts about two different sorts of love. This one, A Young Woman Standing at a Virginal, shows an innocent pure faithful love, watched over by Cupid. The other, A Young Woman Seated at a Virginal, shows an account of love more likely to be apportioned by the hour. Vermeer seems to approve of this one. The other one? Not so much.
Any biography of Carel Fabritius (Dutch, 1622–1654) is necessarily short; there simply is not much known about him. He was born in Beemster, a small village in a muddy mess of a polder in the north of Holland, and died in Delft at age 32 when some 80,000 pounds of gunpowder exploded across the lane from his studio. In this article I examine his output by looking at ten of his paintings in roughly chronological order, from early religious paintings to perhaps his most adored painting The Goldfinch.
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