The Vermeer Center

The great Dutch Golden age painter, Johannes Vermeer, was born in Delft in 1632, grew up near the Markt, and staged a number of his paintings here. His father, an art dealer who had an inn where many local artists met, gave Johannes a passion for painting and allowed him to meet other masters who had a formative influence on his life. From 1645 to 1660, Delft was a breeding ground for painting talent, where artists experimented with light, perspective, and space. Vermeer also met with his contemporaries in the Saint Luke's Guild (today's home to the Vermeer Center) and the city's taverns.

All over Europe in the 17th century, artists lived on commissions they received from the church and royal houses. However, in Holland at that time, these were both missing. There, ordinary citizens bought paintings on the open market, and every household had seven or eight hanging on their walls.

Late in the artist's career, with Holland fighting wars against England, the demand for art and luxuries went sour for the Dutch, forcing Vermeer to downsize. He sold his big home, packed up his wife and 15 children (!), and moved in with his wealthy mother-in-law, Maria Thins. He suddenly died two years later at age 43 in 1675, leaving his wife with eleven remaining children and a mountain of debt.

Vermeer painted landscapes and scenes from mythology and the Bible but he specialized in depicting the everyday actions of regular people. And though his scenes are usually still and peaceful, he artfully conveys deep tension and suggests a complicated story with subtle body language--for example, the subject glances at something out of view--or the inclusion of a small item, like a letter which seems significant. Vermeer also was a master of light, capturing it with an artistry that would make the Impressionist painters jealous over two centuries later.

Sam and I were really impressed with the Vermeercentrum. The intelligent exhibit did a great job of tracking the career and unique creative mind of Delft's favorite resident. After watching a short movie in the lower level, we spent nearly two hours wandering through the three-story building.

Copies of all 37 known paintings by Vermeer are arranged chronologically and accompanied by brief and interesting commentary. There is not 100% agreement on how genuine three of the paintings are. It is thought that Vermeer produced between 40 and 60 paintings during his life--all in all, an unusually small body of work.

There's a mock-up of his studio, where his techniques are thoughtfully analyzed and explained, plus an exhibit detailing the hidden symbols of love found in many of his paintings and his use of light. Much of that was w-a-y more than I needed to know but very intricate and impressive.

History still knows very little about Vermeer; he left no diaries or letters. After centuries of relative obscurity, he and his paintings are now appreciated. They are a world full of light, peacefulness, and mysterious stories, a world that captivates our attention and respect today.

Delft owns none of his works, which I think is really tragic. The lady at the welcome desk told us they can't afford any of Vermeer's original works. However, this beautifully designed and displayed center pays proud tribute to their favorite son and his talent.

Painting #1 - The top painting in this post is Vermeer's "View of Delft" (1660-1661), a large-scale landscape of the Port of Delft at an unusually peaceful moment. It is a Sunday? The sun illuminates the New Church's tower and the shadow of the clouds changes colors. It currently hangs in the Hague.

Painting #2 - In the "Officer and Laughing Girl" (1655-1660), the face of the young girl--as seen over the broad shoulders of a soldier--is shining in the sunlight streaming into the room, reflecting off the leading between the window panes and the nails in the chair. The same sunlight is probably shining on the gentleman opposite her. The painting is part of the Frick Collection in NYC.

Painting #3 - The question of where this scene in "The Little Street" (1657-1661) was observed is still open for debate. A weekday afternoon in Delft, it is a convincing look at the beauty of ordinary life in the 17th century: women busy with their chores and children playing. This painting hangs in Amsterdam's Rijksmuseum, which we would see in a few days.