Vermeer is worth the wait

The Lacemaker, oil on canvas, National Gallery of Art, Andrew W. Mellon Collection

Woman Holding a Balance, c. 1664, oil on canvas, National Gallery of Art, Widener Collection

The truth comes out.

Whether it’s fake Vermeer or real Vermeer, the wait at the National Gallery of Art is worth it. 

A few Sundays ago the delay to get in the Vermeer galleries was 20 minutes.

Between Christmas and New Year's, the wait had increased to about  two hours, with reservations closing for the day at 2 p.m., a docent told me.

She advised getting on the virtual list to see Vermeer (this is the last weekend!) no later than noon, and even better,  10 a.m. when the Gallery opens. 

The National Gallery closes every day at 5 p.m. and she said going through the show takes only 15 minutes but like my experience, "there's a lot of reading, and folks are staying longer."

A Lady Writing, c. 1665, oil on canvas, National Gallery of Art, Gift of Harry Waldron Havemeyer and Horace Havemeyer, Jr., in memory of their father, Horace Havemeyer

The Smiling Girl  , oil on canvas, National Gallery of Art, Andrew W. Mellon Collection

The Vermeer galleries are not large, only big enough to accommodate a precious few at one time.

The museum's website says visitors may get on the virtual list at any of the information desks.

Girl with the Red Hat, c. 1669, oil on panel, National Gallery of Art, Andrew W. Mellon Collection

Girl with a Flute, c. 1669/1675, oil on panel, National Gallery of Art, Widener Collection

In October, the Gallery announced that what had been thought to be a Vermeer is not a Vermeer, discovered after decades of research by curators, conservators, and scientists.

Who said covid was all bad? 

The covid time break permitted the Vermeer team to conduct exhaustive research, expanding a half-century of technical study, to reveal that the work was rendered by an associate, a freelancer, or even a family member at a possible Vermeer school. 

Because only 35 Vermeers are known to exist, researchers have thought for years that  Vermeer had no students, but that was before a deep dive which used X-ray fluorescence imaging spectroscopies to prove that Vermeer experimented with new techniques, post-dating one work from 1666-1667 to c. 1669.

The National Gallery owns three (previously four) Vermeer originals which rarely go off-view. 

Can you pick out the real Vermeers from the ones shown here? (Answers are at the end.*)

Once you see the differences, it's not terribly difficult to recognize the genius from "Vermeer nots," two which were found to be forgeries after they were admitted to the museum in 1937. 

Go here to read about more about the mysterious Dutch artist (1632-1675) who produced many works with light coming from a window on the left, mostly of women, some with men who seem to be trying to get the young women drunk. (Some things never change!)

Vermeer's Secrets was organized by the National Gallery of Art and curated by Marjorie E.  Wieseman, curator and head, and Alexandra Libby, associate curator, department of Northern European painting, National Gallery of Art.

Conservation research and technical imaging at the National Gallery were provided by Dina Anchin, associate paintings conservator; John K. Delaney, senior imaging scientist; Kathryn A. Dooley, imaging scientist; E. Melanie Gifford, conservation scientist (retired); and Lisha Deming Glinsman, conservation scientist (retired).

Enjoy!

What: Vermeer's Secrets

When: Through January 8, 2023. The National Gallery hours are 10 a.m. - 5 p.m. daily.

Where: West Building, Ground Floor, G33-G34, National Gallery of Art, 6th and Constitution, Washington

How much: Admission is always free at the National Gallery of Art.

Metro stations for the National Gallery of Art:
Smithsonian, Federal Triangle, Navy Memorial-Archives, or L'Enfant Plaza

For more information: (202) 737-4215

Accessibility information: (202) 842-6905

* "Vermeer nots":  Girl With a Flute (new discovery!). Two long-ago discovered forgeries after they entered the museum's collection in 1937 are The Smiling Girl and The Lacemaker, both c. 1925.

patricialesli@gmail.com

Last Washington weekend for Vermeer and Golden Age artists

Johannes Vermeer, Dutch, 1632-1675, Woman Writing a Letter, With Her Maid, c. 1670-1671, National Gallery of Ireland, Dublin

 Contingent upon the powers that agree or not agree on a government shutdown, it was reported last night that museums will remain open until Monday enabling the National Gallery of Art to present a major show for one more weekend.

At the Gallery guests will find others standing in a long (but fast moving) line to see a probable once-in-a-lifetime exhibition which is well worth the short (it may not look it) wait.  Private collectors and 33 museums from around the world loaned works for the show.

  

 Frans van Mieris, Dutch, 1635-1681, Woman Playing a Theorbo-Lute, 1663, Scottish National Gallery, Edinburg.  Mieris' teacher was Gerrit Dou (below)

Once inside the galleries, visitors will view domestic scenes of the 17th century by Johannes Vermeer (1632-1675) and his Golden Age colleagues whose competitive streaks drove them to achieve mastery in this genre of domesticity.

 Edgar van der Neer, Dutch, c. 1634-1703, Woman Tuning a Lute, 1678, Bayerische Staatsgemaldesammlungen, Alte Pinakothek, Munich



Segregated in galleries by theme, motif, and composition, paintings were generally completed over 30 years (mid 1650s to about 1680). They depict everyday life in almost 70 different scenes, including ten by Vermeer, some of which have not been seen in the U.S. since their last presentation 22 years ago at the National Gallery. (Then, during the Vermeer exhibition of 1995-1996, the Gallery suffered two government shutdowns  but private donors came to the rescue, permitting the Vermeer exhibit to be open while the rest of the National Gallery remained closed.)

 Gabriel Metsu, Dutch, 1629-1667, Woman Writing a Letter, c. 1662-1664, The Leiden Collection, New York

Vermeer painted painstakingly but his work was generally unknown during his lifetime outside of Delft where he lived with his wife and ten (or eleven; depending upon what you read) children. (Four other children died as infants.) 

Perhaps because of his large family and obligations as an innkeeper, art dealer, and his meticulous attention to his art,  Vermeer's output was small (only 34 or 35, depending upon your sources) limiting dissemination to the public to purchase and support the artist. His wife, Catharina Boines, attributed her husband's death to financial pressures. One day he was well, and the next day, not so well, she wrote.  Whatever he was, his family was left in heavy debt.

Frans van Mieris, Dutch, 1635-1681, Woman Sealing a Letter by Candlelight, 1667, Private collection.  Mieris' teacher was Gerrit Dou (below)

About two centuries after his death, Vermeer was "discovered" by a German museum director. 

This information and much more is found in the 320 paged catalog with 180 color illustrations, available in the National Gallery's shops.

Gerrit Dou, Dutch, 1613-1675, The Dropsical Woman, 1663, Musée du Louvre, Paris.  Do you like the adjective? The label copy notes the physician examines a vial of urine to try to determine what ails m'lady while the catalog says doctors visiting female patients in the second half of the 17th century "enjoyed considerable popularity." A chapter in the catalog, "Heartache," includes other works of doctors' visits to women:  The Doctor's Visit (Steen and one by the same title by van Mieris), The Swoon (van Mieris), and The Doctor (Dou).  You must see to believe! 

Besides Vermeer, the other artists represented are Gerard ter Borch, Gerrit Dou, Pieter de Hooch, Gabriel Metsu, Frans van Mieris, Caspar Netscher, Jan Steen, Cornelis Bisshis, Samuel van Hoogstraten, Nicolaes Maes, Cornelis de Man, Eglon van der Neer, and Jacob Ochtervelt, all from the Netherlands, all from the Golden Age of Art.

Gabriel Metsu, Dutch, 1629-1667, Woman Reading a Letter, c. 1664-1666, The National Gallery or Ireland, Dublin. How many dissertations have been written about this painting? I think it is my favorite in the show because of its complexity and once you think you may have discerned a possible meaning for a portion of it, another door opens to another possibility and endless interpretations.  It is a huge puzzle which I could gaze upon for hours, I believe. Note the maid, with her back to the viewer, holds a letter and looks out the window upon an angry sea. What is going on? Is someone longing for...whom? Upon the floor lies a discarded shoe while the lady reads a love letter?  She threw the shoe at her lover who escaped through the window to another shore?  What say ye the meaning of this? This is fun.  You see, art doesn't always have to be serious.  Find your meanings and observe the similarity with Vermeer's Woman Writing a Letter, With Her Maid, above, and write soon.

For some reason the show's paintings which were of most interest to me and pictured here, show the subjects looking to their rights which is the source of much of the light (the viewer's left). Sometimes the subjects greet guests face on. Why does the light never come from the right?  Many of those hanging on the walls feature women in similar constructions. Please see what you think and write soon.

At the opening of the exhibition, His Excellency Henne Schuwer, Ambassador of the Kingdom of the Netherlands to the United States, praises the warm relationship between his nation and the U.S.  To his right is Earl A. Powell, III,  the director of the National Gallery of Art, Washington, and on Ambassador Schuwer's left are Mary Streett of BP, the major sponsor of the Vermeer show, and Arthur K. Wheelock, Jr., curator of Northern Baroque paintings for the National Gallery of Art/Photo by Patricia Leslie



The exhibition was curated by Arthur K. Wheelock Jr., curator of Northern Baroque paintings, National Gallery of Art, Washington; Dr. Adriaan Waiboer, head of collections and research, National Gallery of Ireland, Dublin; and Blaise Ducos, curator of Dutch and Flemish paintings, Musée du Louvre, Paris.  

Before the presentation came to the National Gallery of Art, it opened last year at the Louvre, followed by exhibition at the National Gallery of Ireland. 

On the first page of the catalog, BP, the major sponsor, commends the National Gallery:  "What makes the National Gallery such a special place is not only its extraordinary collection but the fact that its offerings may be viewed free of charge."
 
What: Vermeer and the Masters of Genre Painting: Inspiration and Rivalry

When: The National Gallery of Art is open 10 a.m. - 5 p.m., Monday through Saturday, and 11 a.m. - 6 p.m., Sunday. The exhibition closes Sunday, January 21, 2018.

Where: West Building, the National Gallery of Art, between Third and Ninth streets at Constitution Avenue, N.W., Washington, D.C. On the Mall.

Admission charge: Never an admission charge at the National Gallery of Art.

Metro stations for the National Gallery of Art:
Smithsonian, Federal Triangle, Navy Memorial-Archives, or L'Enfant Plaza

For more information: 202-737-4215

patricialesli@gmail.com