Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Jan Vermeer's Clio

Jan Vermeer's Clio 44 be the reason that the fame of the painter was not widespread. She also follows the French traveller De Monconys to Delft and comments that he went to that town twice, only going to Vermeer on the second visit, from which she also draws conclusions about Vermeer's reputation or fame in his time. The writer further reviews an article by the Swedish art-historian Karl Gunnar Hulten in the Konsthistorisk Tidskrift of 1949. After studying the perspective of the Art of Painting which seems to be two-fold, he comes to the conclusion, with which the writer agrees, that Vermeer painted himself with the aid of two mirrors. Notwithstanding the similarity, she is less satisfied with Hulten's declaration of the figure still generally called Fame; to be Clio the muse of History, which Vermeer is supposed to have followed after Cesar Ripa's Iconologia (Pers' translation). Mr. Hulten writes that Vermeer made an ironic paraphrase of the official historical painting of the Baroque under court influence. Miss Neurdenburg asks, (her sup- position being that the book in the hand could be the lives of all artists, possibly De Bie's) whether, for all that the figure could not be Fame, who http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Oud Holland - Quarterly for Dutch Art History Brill

Jan Vermeer's Clio

Download PDF
2 pages

Loading next page...
 
/lp/brill/jan-vermeer-s-clio-Q6GuYLT9hH

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
Brill
Copyright
© 1951 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0030-672x
eISSN
1875-0176
DOI
10.1163/187501751X00078
Publisher site
See Article on Publisher Site

Abstract

44 be the reason that the fame of the painter was not widespread. She also follows the French traveller De Monconys to Delft and comments that he went to that town twice, only going to Vermeer on the second visit, from which she also draws conclusions about Vermeer's reputation or fame in his time. The writer further reviews an article by the Swedish art-historian Karl Gunnar Hulten in the Konsthistorisk Tidskrift of 1949. After studying the perspective of the Art of Painting which seems to be two-fold, he comes to the conclusion, with which the writer agrees, that Vermeer painted himself with the aid of two mirrors. Notwithstanding the similarity, she is less satisfied with Hulten's declaration of the figure still generally called Fame; to be Clio the muse of History, which Vermeer is supposed to have followed after Cesar Ripa's Iconologia (Pers' translation). Mr. Hulten writes that Vermeer made an ironic paraphrase of the official historical painting of the Baroque under court influence. Miss Neurdenburg asks, (her sup- position being that the book in the hand could be the lives of all artists, possibly De Bie's) whether, for all that the figure could not be Fame, who

Journal

Oud Holland - Quarterly for Dutch Art History – Brill

Published: Jan 1, 1951

There are no references for this article.