Jan Vermeer | 杨·维梅尔

boks

来自: boks(九霄行雷无人问,且援北斗酌江湖) 组长
2007-09-19 21:27:16

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  • boks

    boks (九霄行雷无人问,且援北斗酌江湖) 组长 楼主 2007-09-19 21:30:41

    维梅尔(Vermeer Van Delft,Jan)(1632~1675)简介: 十七世纪荷兰黄金时代绘画大师维梅尔(Jan Vermeer)和伦勃朗、梵高名列荷兰三大画家的维梅尔,官方文献记载并不多。荷兰画家,台夫特人。为荷兰大师中最稳健、温和的一位画家,他的生平和成就直到十九世纪中期才受到注意。他显然受到法布利契亚斯(Carel Fabritius)的影响,而且在 1653 年成为臺夫特画家公会(Guild)的画师,之前,可能曾是法布利契亚斯的弟子。 1632 年,维梅尔出生於有荷兰陶瓷故乡之称的台夫特,在这个城市终其一生,父亲为旅馆主人,他与中产阶级家庭出身的妻子结婚,育有11名子女,并且与岳母同住。在圣路加会完成学徒修业并成为该会的主要工匠。他同时也是名商人,专门贩售其他台夫特画家的画作。维梅尔的画室位在他岳母房子的一楼,他大部份的作品都是在这里完成的。维梅尔逝於1675年,得年43岁,根据留存不多的档案资料猜测,死因是由於心脏方面的疾病。法荷战争期间生灵涂炭,造成当时社会中坚的中产阶级资产迅速衰竭,艺术交易市场随之崩解,加上岳母方面家产散尽等等因素影响,维梅尔家族过著举债度日的生活。 维梅尔(Vermeer Van Delft,Jan )作画的速度不快,画中仅有一、两个人,或伏案写字,或做家务,或演奏乐器,画册上的画看起来很像是麦斯(Maes)或荷克(Pieter de Hooch)的作品,可是看看原件那卓越的色彩,耀动的光线,如真珠般晶莹的佈满画中,把日常生活诗意化了,迥异於一般荷兰画家像肃穆的散文的作品。他最著名的作品,「台夫特」(View of Delft)与他本性略为不同,类似於海顿(vander Heyden)的城市景观画。 维梅尔(Vermeer Van Delft,Jan )现在能确定是他的作品只有 40 幅,都是小件作品。画作大多描绘家庭生活,呈现出令人着迷的诗意风格。维梅尔的朴素之风不被认可,以致大多数的画都是在死后卖出的,但他善于利用光影的色彩细微变化作画,可谓与现在的光学照相机相比,代表作有《到牛奶的女人》,《戴珍珠耳环的少女》等等,可惜英年早逝,还欠下了一大笔债留给了妻儿,直到很久以后才被人发觉他的画的艺术价值。

  • boks

    boks (九霄行雷无人问,且援北斗酌江湖) 组长 楼主 2007-09-19 21:52:45

    Johannes Vermeer From Wikipedia, the free encyclopedia Johannes Vermeer or Jan Vermeer (baptized October 31, 1632, died December 15, 1675) was a Dutch painter who specialized in domestic interior scenes of ordinary bourgeois life. His entire life was spent in the town of Delft. Vermeer was a moderately successful provincial painter in his lifetime. He seems to have never been particularly wealthy, perhaps due to the fact that he produced relatively few paintings, leaving his wife and eleven children in debt at his death. Virtually forgotten for nearly two hundred years, in 1866 the art critic Thoré Bürger published an essay attributing 66 pictures to him (only 35 paintings are firmly attributed to him today). Since that time Vermeer's reputation has grown, and he is now acknowledged as one of the greatest painters of the Dutch Golden Age, and is particularly renowned for his masterly treatment and use of light in his work. Life Relatively little is known about Vermeer's life. The only sources of information are some registers, a few official documents and comments by other artists. Youth Johannes Vermeer was born in 1632, in the city of Delft in the Netherlands. The precise date of his birth is unknown but it is known that he was baptised on October 31, 1632, in the Reformed Church in Delft. Vermeer's father, Reynier Vermeer[1], was a lower middle-class silk weaver and an art dealer. He married Johannes' mother, Digna, a woman from Antwerp, in 1615. The Vermeer family bought a large inn, the "Mechelen" named after the homonymous Belgian town, near the market square in Delft in 1641. Reynier Vermeer probably served as inn-keeper while also acting as a merchant of paintings. After his father's death in 1652, Johannes Vermeer inherited the Mechelen as well as his father's art-dealing business. Marriage and family Despite the fact that he came from a Protestant family, he married a Catholic, named Catherina Bolnes, in April 1653. It was an unlikely marriage: in addition to the religious difference (Catholics were a discriminated-against and unpopular religious minority in mainly Calvinist Holland, threatened by Catholic France[citation needed]), Bolnes' family was significantly wealthier than Vermeer's. Vermeer may have converted to Catholicism shortly before their marriage, a conversion suggested by the fact that his children were named after Catholic saints rather than his own parents, and one of his paintings, The Allegory of Faith, reflects Catholic belief in the Eucharist, though whether that is the artist's or that of a commissioning patron is unknown. Some time after their marriage, the couple left the Mechelen and moved in with Catherina's mother, Maria Thins, a well-off widow, in a house in the "Papist corner" of the town, where the Catholics lived in relative isolation. Vermeer would live in his mother-in-law's house with his wife and children for the rest of his life. Maria apparently played an important role in their life, for they named their first daughter after her, and it is possible that she used her comfortable income to help support the struggling painter and his growing family. Maria Thins was a devotee of the Jesuit order in the Catholic Church, and this, too, seems to have influenced Johannes and Catherina, for they called their first son Ignatius, after the founding saint of the Jesuit Order. Johannes and Catherina had fourteen children in total, three of whom predeceased Vermeer. Career The Girl with a Wine Glass, 1660 The Girl with a Wine Glass, 1660 Vermeer was apprenticed as a painter, but it is not certain where he studied, nor with whom. It is generally believed that he studied in Delft and that his teacher was either Carel Fabritius (1622 - 1654) or Leonaert Bramer (1596 - 1674).[2] On the 29th of December 1653, Vermeer became a member of the Guild of Saint Luke, a trade association for painters. The guild's records, which indicate that he could not initially pay the admission fee, hint that Vermeer had financial difficulties. In later years he evidently was well established: one of the town's richest citizens, Pieter van Ruijven, became his patron and bought many of his paintings. If he indeed completed only a small number of paintings, his income probably[citation needed] relied largely on his business as an art dealer. In 1662 he was elected head of the guild and was reelected in 1663, 1670, and 1671, evidence that he was considered an established craftsman among his peers, and a respectable middle-class citizen. However, a severe economic downturn struck the Netherlands after 1672 (the "Rampjaar"), when the French invaded the Dutch Republic in what was later known as the Franco-Dutch War. This led to a collapse in demand for luxury items such as paintings, and consequently damaged Vermeer's business both as a painter and an art dealer. With a large family to support, Vermeer was forced to borrow money. When Johannes Vermeer died in 1675, he left Catherina and their children with very little money and several debts. In a written document his wife attributed her husband's death to the stress of financial pressures. Catherina asked the city council to take over the estate, including paintings, in order to pay off the debts. The Dutch microscopist Antonie van Leeuwenhoek, who worked for the city council, was appointed trustee for the estate in 1676. Nineteen of Vermeer's paintings were bequeathed to Catherina and Maria; Catherina sold some of these paintings to pay creditors. In Delft, Vermeer had been a respected artist, but he was almost unknown outside his home town, and the fact that a local patron, van Ruijven, purchased much of his output reduced the possibility of his fame spreading. Vermeer's relatively short life, the demands of separate careers, and his extraordinary precision as a painter all help to explain his limited output. It is assumed[attribution needed] that some of his paintings were lost after his death. Technique Vermeer produced transparent colours by applying paint onto the canvas in loosely granular layers, a technique called pointillé (not to be confused with pointillism). No drawings have been securely attributed to Vermeer, and his paintings offer few clues to preparatory methods. David Hockney, among other historians and advocates of the Hockney-Falco thesis, has speculated that Vermeer used a camera obscura to achieve precise positioning in his compositions, and this view seems to be supported by certain light and perspective effects which would result from the use of such lenses and not the naked eye alone; however, the extent of Vermeer's dependence upon the camera obscura is disputed by historians. There is no other seventeenth century artist who from very early on in his career employed, in the most lavish way, the exorbitantly expensive pigment lapis lazuli, natural ultramarine. Not only used in elements that are intended to be shown as blue, like a woman’s skirt, a sky, the headband on the Girl with a Pearl Earring (The Hague), and in the satin dress of his late A Lady Seated at a Virginal (London), Vermeer also used the lapis lazuli widely as underpaint in, for example, the deep yet murky shadow area below the windows in The Music Lesson (London), and The Glass of Wine (Berlin). For the wall beneath the windows - areas in these paintings of intense shadow - Vermeer composed by first applying a dark natural ultramarine, thus indicating an area void of light. Over this first layer he then scumbled varied layers of earth colours in order to give the wall a certain appearance: the earth colours umber and ochre should be understood as warm light from the strongly lit interior, reflecting its multiple colours back onto the wall. This working method most probably was inspired by Vermeer’s understanding of Leonardo’s observations that the surface of every object partakes of the colour of the adjacent object.[3] This means that no object is ever seen entirely in its natural colour. A comparable but even more remarkable yet effectual use of natural ultramarine is in The Girl with a Wineglass (Braunsweig). The shadows of the red satin dress are underpainted in natural ultramarine, and due to this underlying blue paint layer, the red lake and vermilion mixture applied over it acquires a slightly purple, cool and crisp appearance that is most powerful. Even after Vermeer’s supposed financial breakdown following the so-called rampjaar (year of disaster) in 1672, he continued to employ natural ultramarine most generously, such as in the above-mentioned "Lady Seated at a Virginal." This could suggest that Vermeer was supplied with materials by a collector, and would coincide with John Michael Montias’ theory of Pieter Claesz. van Ruijven being Vermeer’s patron. Themes Vermeer painted mostly domestic interior scenes. His works are largely genre pieces and portraits, with the exception of two cityscapes. His subjects offer a cross-section of seventeenth century Dutch society, ranging from the portrayal of a simple milkmaid at work, to the luxury and splendour of rich notables and merchantmen in their roomy houses. Religious and scientific connotations can be found in his works. Influence of other painters * Carel Fabritius (1622–1654) who spent his final years in Delft. Vermeer's ideas about perspective, and his tendency to paint everyday themes were possibly influenced by Fabritius. * Italian painter Caravaggio (1573–1610), indirectly through Dutch followers. * Leonaert Bramer, another painter from Delft, and witness to his marriage. * Vermeer owned a Dirck van Baburen painting, which appears in two of Vermeer's paintings. Works View of Delft, (1660-1661) View of Delft, (1660-1661) The Little Street, 1659-60 The Little Street, 1659-60 Only three paintings are dated: The Procuress (1656, Dresden, Gemäldegalerie), The Astronomer (1668, Paris, Louvre), and The Geographer (1669, Frankfurt, Städelsches). Two pictures are generally accepted as earlier than The Procuress; both are history paintings, painted in a warm palette and in a relatively large format for Vermeer —Christ in the House of Mary and Martha (Edinburgh, National Gallery) and Diana and her Companions (The Hague, Mauritshuis). After The Procuress almost all of Vermeer's paintings are of contemporary subjects in a smaller format, with a cooler palette dominated by blues, yellows and greys. It is to this period that practically all of his surviving works belong. They are usually domestic interiors with one or two figures lit by a window on the left. They are characterized by a serene sense of compositional balance and spatial order, unified by an almost pearly light. Mundane domestic or recreational activities become thereby imbued with a poetic timelessness (e.g. Woman Reading a Letter at an Open Window, Dresden, Gemäldegalerie). To this period also have been allocated Vermeer's two townscapes, View of Delft (The Hague, Mauritshuis) and A Street in Delft (Amsterdam, Rijksmuseum). A few of his paintings show a certain hardening of manner and these are generally thought to represent his late works. From this period come The Allegory of Faith (c 1670, New York, Metropolitan Museum) and The Letter (c 1670, Amsterdam, Rijksmuseum). The often-discussed sparkling pearly highlights in Vermeer's paintings have been linked to his possible use of a camera obscura, the primitive lens of which would produce halation and, even more noticeably, exaggerated perspective. Such effects can be seen in Lady at the Virginals with a Gentleman (London, Royal Collection). Vermeer's interest in optics is also attested in this work by the accurately observed mirror reflection above the lady at the virginals. Today, 35 paintings are clearly attributed to Vermeer, although in 1866, Thoré Burger attributed a list of 66 pictures to him. The known paintings are: 1. Christ in the House of Martha and Mary (1654-1655) - Oil on canvas, 160 x 142 cm, National Gallery of Scotland, Edinburgh 2. Diana and Her Companions (1655-1656) - Oil on canvas, 98,5 x 105 cm, Mauritshuis, The Hague 3. The Procuress (1656) - Oil on canvas, 143 x 130 cm, Gemäldegalerie Alte Meister, Dresden 4. Girl reading a Letter at an Open Window (1657) - Oil on canvas, 83 x 64,5 cm, Gemäldegalerie Alte Meister, Dresden 5. A Girl Asleep (1657) - Metropolitan Museum of Art, New York 6. The Little Street (1657/58) - Rijksmuseum, Amsterdam 7. Officer with a Laughing Girl (c. 1657) - Oil on canvas, 50,5 x 46 cm, Frick Collection, New York 8. The Milkmaid (c. 1658) - Oil on canvas, 45,5 x 41 cm, Rijksmuseum, Amsterdam 9. A Lady Drinking and a Gentleman (1658-1660) - Oil on canvas, 39,4 x 44,5 cm,Gemäldegalerie, Berlin 10. The Girl with the Wineglass (c. 1659) - Oil on canvas, Herzog Anton-Ulrich-Museum, Braunschweig 11. View of Delft (1659-1660) - Oil on canvas, 98,5 x 117,5 cm, Mauritshuis, The Hague 12. Girl Interrupted at her Music (1660-1661) - Oil on canvas, 39,4 x 44,5 cm, Frick Collection, New York 13. Woman in Blue Reading a Letter (1663-1664) - Oil on canvas, 46,6 x 39,1 cm, Rijksmuseum, Amsterdam 14. The Music Lesson or A Lady at the Virginals with a Gentleman (1662/5) - Oil on canvas, 73,3 x 64,5 cm, Queen's Gallery, London 15. Woman with a Lute near a Window (c. 1663) - Oil on canvas, 51,4 x 45,7 cm, Metropolitan Museum of Art, New York 16. Woman with a Pearl Necklace (1662-1664) - Oil on canvas, 55 x 45 cm, Gemäldegalerie, Berlin 17. Woman with a Water Jug (1660-1662) - Oil on canvas, 45,7 x 40,6 cm, Metropolitan Museum of Art, New York 18. A Woman Holding a Balance (1662-1663) - Oil on canvas, 42,5 x 38 cm, National Gallery of Art, Washington 19. A Lady Writing a Letter (1665-1666) - Oil on canvas, 45 x 40 cm, National Gallery of Art, Washington 20. Girl with a Pearl Earring (a.k.a. Girl In A Turban, Head Of Girl In A Turban, The Young Girl With Turban) (c. 1665) - Oil on canvas, 46,5 x 40 cm, Mauritshuis, The Hague 21. The Concert (1665-1666) - Oil on canvas, 69 x 63 cm, stolen in March 1990 from the Isabella Stewart Gardner Museum, Boston[4] 22. Portrait of a Young Woman (1666-1667) - Oil on canvas, 44,5 x 40 cm, Metropolitan Museum of Art, New York 23. The Allegory of Painting or The Art of Painting (1666/67) - Kunsthistorisches Museum, Vienna 24. Mistress and Maid (1667/68) - Frick Collection, New York 25. Girl with a Red Hat (1668) - National Gallery of Art, Washington 26. The Astronomer (1668) - Louvre, Paris 27. The Geographer (1668/69) - Städelsches Kunstinstitut, Frankfurt am Main 28. The Lacemaker (1669/70) - Louvre, Paris 29. The Love Letter (1669/70) - Rijksmuseum, Amsterdam 30. Lady writing a Letter with her Maid (1670) - Oil on canvas, 71,1 x 58,4 cm, National Gallery of Ireland, Dublin 31. The Allegory of Faith (1671/74) - Metropolitan Museum of Art, New York 32. The Guitar Player (1672) - Iveagh Bequest Kenwood House, London 33. Lady Standing at the Virginals (1673/75) - National Gallery, London 34. Lady Seated at the Virginals (1673/75) - National Gallery, London

  • Crella

    Crella 2010-02-26 10:29:04

    戴珍珠耳环的少女~~~~~书和电影都很经典。。。

  • yoki

    yoki (nothing) 2011-04-13 10:57:27

    Very good translation,thank you ~

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