Presents a portrait of Vermeer's life and character.

Art historians have long speculated on how Vermeer achieved the uncanny mixture of detached precision, compositional repose, and perspective accuracy that have drawn many to describe his work as "photographic." Indeed, many wonder if Vermeer employed a camera obscura, a primitive form of camera, to enhance his realistic effects? In Vermeer's Camera, Philip Steadman traces the development of the camera obscura--first described by Leonaro da Vinci--weighs the arguments that scholars have made for and against Vermeer's use of the camera, and offers a fascinating examination of the paintings themselves and what they alone can tell us of Vermeer's technique. Vermeer left no record of his method and indeed we know almost nothing of the man nor of how he worked. But by a close and illuminating study of the paintings Steadman concludes that Vermeer did use the camera obscura and shows how the inherent defects in this primitive device enabled Vermeer to achieve some remarkable effects--the slight blurring of image, the absence of sharp lines, the peculiar illusion not of closeness but of distance in the domestic scenes. Steadman argues that the use of the camera also explains some previously unexplainable qualities of Vermeer's art, such as the absence of conventional drawing, the pattern of underpainting in areas of pure tone, the pervasive feeling of reticence that suffuses his canvases, and the almost magical sense that Vermeer is painting not objects but light itself. Drawing on a wealth of Vermeer research and displaying an extraordinary sensitivity to the subtleties of the work itself, Philip Steadman offers in Vermeer's Camera a fresh perspective on some of the most enchanting paintings ever created.

Vermeer has always been considered the most elusive of great artists, but this book tracks him down in his home town. It takes the reader back to seventeenth-century Delft, in a piece of historical writing that does justice to its now timeless subject. Anthony Bailey makes use of the scholarly research that has accumulated in the last century, as well as recent findings, and then reaches beyond these facts to expose the hidden Vermeer. The result is a vivid, convincing portrait of the Protestant innkeeper's son who married a prosperous Catholic girl and had 15 children of whom 11 survived. Vermeer died relatively young and left fewer than 40 pictures. Many of these pictures are indeed masterpieces, and Anthony Bailey examines the scientific expertise which lies behind their calm mystery. He introduces us to Vermeer's colleagues and fellow-citizens, and charts his celebrity as it slowly spread out of Holland and encompassed the world. He examines Vermeer's effect on a range of people as diverse as Proust and Hitler. A View of Delft is a highly original attempt to illuminate Vermeer's life and personality, by setting him imaginatively in the context of Delft, its culture and history.

Walter Liedtke, curator of European paintings at the Metropolitan Museum of Art in New York, has assembled a splendid catalog of Vermeer and his artistic milieu. Seven lengthy, well-illustrated chapters (Liedtke wrote five, Dutch art historians Michiel Plomp and Marten Jan Bok wrote the others) describe life in the city of Delft; the painters Carel Fabritius, Leonart Bramer, and others who preceded Vermeer; the careers of Vermeer and De Hooch; the making of drawings and prints in 17th-century Delft; and the collecting of art in the same period. The catalog follows: each painting, print, and drawing accompanied by a lengthy catalog essay. Oversize: 12.25x9.75". c. Book News Inc.

In this critical darling Vermeer's captivating and enigmatic paintings become windows that reveal how daily life and thought-from Delft to Beijing--were transformed in the 17th century, when the world first became global. A Vermeer painting shows a military officer in a Dutch sitting room, talking to a laughing girl. In another canvas, fruit spills from a blue-and-white porcelain bowl. Familiar images that captivate us with their beauty--but as Timothy Brook shows us, these intimate pictures actually give us a remarkable view of an expanding world. The officer's dashing hat is made of beaver fur from North America, and it was beaver pelts from America that financed the voyages of explorers seeking routes to China-prized for the porcelains so often shown in Dutch paintings of this time, including Vermeer's. In this dazzling history, Timothy Brook uses Vermeer's works, and other contemporary images from Europe, Asia, and the Americas to trace the rapidly growing web of global trade, and the explosive, transforming, and sometimes destructive changes it wrought in the age when globalization really began.

The six essays in this book focus upon painting in Delft during the period 1650-1675. Four artists, Carel Fabritius, Gerard Houckgeest, Pieter de Hooch and Johannes Vermeer, are discussed at length. However, these chapters are neither monographic nor int

A visually stunning and seductive book that celebrates the mysterious and enigmatic world created by Vermeer in some of the best-loved and most characteristic works from late in his career.