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Vermeer's Hat: The Seventeenth Century and the Dawn of the Global World is a book by the Canadian historian Timothy Brook, in which he explores the roots of world trade in the 17th century through six paintings by the Dutch Golden Age painter Johannes Vermeer. [1]
Detail of the painting The Procuress (c. 1656), proposed self portrait by Vermeer [1] The following is a list of paintings by Johannes Vermeer (1632–1675), a Dutch Golden Age painter . After two or three early history paintings , he concentrated almost entirely on genre works , typically interiors with one or two figures.
Girl with a Red Hat is a rather small painting, signed by the Dutch painter Johannes Vermeer.It is seen as one of a number of Vermeer's tronies – depictions of models fancifully dressed that were not (as far as is known) intended to be portraits of specific, identifiable subjects.
The small 20×18 cm (8×7 inch) artwork is painted on a wood panel, as is the uncontested Vermeer painting Girl with a Red Hat, which is the only other painting associated with Vermeer on a wood panel. [3] Girl with a Red Hat is slightly larger, 23×18 cm (9×7 inch).
The Milkmaid by Johannes Vermeer, exhibition catalogue fully online as PDF from The Metropolitan Museum of Art, which contains material on Portrait of a Young Woman (cat. no. 9) Notable acquisitions 1979–1980, fully digitized online as PDF from The Metropolitan Museum of Art, which contains material on Portrait of a Young Woman (pp. 41–42)
A Lady Writing a Letter (also known as A Lady Writing) is an oil on canvas painting by the 17th century Dutch painter Johannes Vermeer.It is believed to have been completed by artist during his mature phase, in the mid-to-late 1660s.
If your paper was missed or delivered late over the past few weeks, you are not alone. On Sunday, November 19, Bob Vermeers, an 82-year-old Navy veteran, died unexpectedly while delivering newspapers.
The painting was among the large collection of Vermeer works sold on May 16, 1696, from the estate of Jacob Dissius (1653–1695). It is widely believed the collection was originally owned by Dissius' father-in-law, Pieter Claesz van Ruijven of Delft as Vermeer's major patron, then passed down to Ruijven's daughter (1655–1682), who would have left it to Dissius.