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Vermeer: The Rijksmuseum's major exhibition catalogue
Published to accompany the once-in-a-lifetime exhibition at the Rijksmuseum, Amsterdam, this is the first major study of Vermeer’s life and work in many years. Johannes Vermeer's intensely quiet and enigmatic paintings invite the viewer into a private world, often prompting more questions than answers. Who is being portrayed? Are his subjects real or imagined? And how did he create such an unrivaled sense of intimacy? Bringing together diverse strands of the Dutch master's professional and private worlds, this is the first major authoritative study of Vermeer's life and work for many years shedding light on all thirty-seven of his paintings. Vermeer has been beautifully designed by Irma Boom, the "Queen of Books," and printed on an uncoated paper. With a wide selection of contextual illustrations, commentaries and up-to-date research by distinguished international Vermeer scholars, this is the definitive volume on the most admired of all seventeenth-century Dutch masters. With contributions by Bart Cornelis, National Gallery, London Bente Frissen, Rijksmuseum, Amsterdam Sabine Pénot, Kunsthistorisches Museum, Vienna Pieter Roelofs, Rijksmuseum, Amsterdam Friederike Schuett, Staedel Museum, Frankfurt am Main Christian Tico Seifert, National Galleries of Scotland, Edinburgh Ariane van Suchtelen, Mauritshuis, The Hague Gregor J.M. Weber, Rijksmuseum, Amsterdam Marjorie E. Wieseman, National Gallery of Art, Washington 200 color illustrations
320 pages, Hardcover
First published February 1, 2023
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Displaying 1 - 13 of 13 reviews
March 27, 2023
(Had to create this entry, but think it must exist somewhere on Goodreads. I just couldn't find it)
I admit that my enthusiasm for this book probably was created because while I read it, I was coming and going from the big show at the Rijksmuseum in early 2023. I had the good fortune to buy "Friend" memberships in the museum so was able to come and go at will, even to get in, occasionally, when the crowds were thinner.
This is an exhibit catalog and lives up to the expectations and limitations of a catalog. Although details and interpretations will certainly change, this is likely to be the definitive catalog for the foreseeable future. There is an extensive bibliography and the history and provenance of each painting is in the small print at the back (I know I must not be the only person to love diving deep into the provenance of these paintings, often quite small and delicate, following their peregrinations through time and across countries and continents until they find themselves together, as they have never been before, even in Vermeer's lifetime, on the walls of this museum for a few months).
The essays are by various Vermeer scholars and color the relevant history and context of each of the 37 paintings. Again, I didn't find one dull and most quite exciting. Early on, as I was moving into the essay that worked through all the objects in Vermeer's house that were catalogued at his death, I was thinking that this was dull, until suddenly I was completely drawn in by the wonderful specificity of it all. I could imagine the objects as they reappeared in the paintings, and even as they were moved to make room for the settings of the paintings.
The essays and the paintings in the show are not grouped chronologically. Rather they are grouped by theme -- music, women reading/writing letters, religion, the two outdoor paintings, etc., which might sometimes reflect chronology, but at other times cut across the 20 years of Vermeer's working life. Because he died young, this highlights the obsessions that preoccupied him.
Why does Vermeer overwhelm me? Light, of course. Skill, like little else our species has ever manifested. But I think I am most taken by the specificity of the vision. These are not commissioned portraits of the rich and powerful. Rather they are reflections of the ordinary, of his family and servants (perhaps), of his neighbors, of some stylized or idealized figure. He might have started painting "tronies" to get commissions, but they quickly became an end in themselves. The reason for the art. That is one reason -- along with his inventions of the techniques of shadowing, the solitary, introverted figures, the dailiness of it all -- that makes the paintings so modern, or rather that carries them through time.
I admit that my enthusiasm for this book probably was created because while I read it, I was coming and going from the big show at the Rijksmuseum in early 2023. I had the good fortune to buy "Friend" memberships in the museum so was able to come and go at will, even to get in, occasionally, when the crowds were thinner.
This is an exhibit catalog and lives up to the expectations and limitations of a catalog. Although details and interpretations will certainly change, this is likely to be the definitive catalog for the foreseeable future. There is an extensive bibliography and the history and provenance of each painting is in the small print at the back (I know I must not be the only person to love diving deep into the provenance of these paintings, often quite small and delicate, following their peregrinations through time and across countries and continents until they find themselves together, as they have never been before, even in Vermeer's lifetime, on the walls of this museum for a few months).
The essays are by various Vermeer scholars and color the relevant history and context of each of the 37 paintings. Again, I didn't find one dull and most quite exciting. Early on, as I was moving into the essay that worked through all the objects in Vermeer's house that were catalogued at his death, I was thinking that this was dull, until suddenly I was completely drawn in by the wonderful specificity of it all. I could imagine the objects as they reappeared in the paintings, and even as they were moved to make room for the settings of the paintings.
The essays and the paintings in the show are not grouped chronologically. Rather they are grouped by theme -- music, women reading/writing letters, religion, the two outdoor paintings, etc., which might sometimes reflect chronology, but at other times cut across the 20 years of Vermeer's working life. Because he died young, this highlights the obsessions that preoccupied him.
Why does Vermeer overwhelm me? Light, of course. Skill, like little else our species has ever manifested. But I think I am most taken by the specificity of the vision. These are not commissioned portraits of the rich and powerful. Rather they are reflections of the ordinary, of his family and servants (perhaps), of his neighbors, of some stylized or idealized figure. He might have started painting "tronies" to get commissions, but they quickly became an end in themselves. The reason for the art. That is one reason -- along with his inventions of the techniques of shadowing, the solitary, introverted figures, the dailiness of it all -- that makes the paintings so modern, or rather that carries them through time.
March 27, 2023
(This is a review of the English translation, which is workmanlike -- perhaps not inspired, but very readable)
I admit that my enthusiasm for this book probably was created because while I read it, I was coming and going from the big show at the Rijksmuseum in early 2023. I had the good fortune to buy "Friend" memberships in the museum so was able to come and go at will, even to get in, occasionally, when the crowds were thinner.
This is an exhibit catalog and lives up to the expectations and limitations of a catalog. Although details and interpretations will certainly change, this is likely to be the definitive catalog for the foreseeable future. There is an extensive bibliography and the history and provenance of each painting is in the small print at the back (I know I must not be the only person to love diving deep into the provenance of these paintings, often quite small and delicate, following their peregrinations through time and across countries and continents until they find themselves together, as they have never been before, even in Vermeer's lifetime, on the walls of this museum for a few months).
The essays are by various Vermeer scholars and color the relevant history and context of each of the 37 paintings. Again, I didn't find one dull and most quite exciting. Early on, as I was moving into the essay that worked through all the objects in Vermeer's house that were catalogued at his death, I was thinking that this was dull, until suddenly I was completely drawn in by the wonderful specificity of it all. I could imagine the objects as they reappeared in the paintings, and even as they were moved to make room for the settings of the paintings.
The essays and the paintings in the show are not grouped chronologically. Rather they are grouped by theme -- music, women reading/writing letters, religion, the two outdoor paintings, etc., which might sometimes reflect chronology, but at other times cut across the 20 years of Vermeer's working life. Because he died young, this highlights the obsessions that preoccupied him.
Why does Vermeer overwhelm me? Light, of course. Skill, like little else our species has ever manifested. But I think I am most taken by the specificity of the vision. These are not commissioned portraits of the rich and powerful. Rather they are reflections of the ordinary, of his family and servants (perhaps), of his neighbors, of some stylized or idealized figure. He might have started painting "tronies" to get commissions, but they quickly became an end in themselves. The reason for the art. That is one reason -- along with his inventions of the techniques of shadowing, the solitary, introverted figures, the dailiness of it all -- that makes the paintings so modern, or rather that carries them through time.
I admit that my enthusiasm for this book probably was created because while I read it, I was coming and going from the big show at the Rijksmuseum in early 2023. I had the good fortune to buy "Friend" memberships in the museum so was able to come and go at will, even to get in, occasionally, when the crowds were thinner.
This is an exhibit catalog and lives up to the expectations and limitations of a catalog. Although details and interpretations will certainly change, this is likely to be the definitive catalog for the foreseeable future. There is an extensive bibliography and the history and provenance of each painting is in the small print at the back (I know I must not be the only person to love diving deep into the provenance of these paintings, often quite small and delicate, following their peregrinations through time and across countries and continents until they find themselves together, as they have never been before, even in Vermeer's lifetime, on the walls of this museum for a few months).
The essays are by various Vermeer scholars and color the relevant history and context of each of the 37 paintings. Again, I didn't find one dull and most quite exciting. Early on, as I was moving into the essay that worked through all the objects in Vermeer's house that were catalogued at his death, I was thinking that this was dull, until suddenly I was completely drawn in by the wonderful specificity of it all. I could imagine the objects as they reappeared in the paintings, and even as they were moved to make room for the settings of the paintings.
The essays and the paintings in the show are not grouped chronologically. Rather they are grouped by theme -- music, women reading/writing letters, religion, the two outdoor paintings, etc., which might sometimes reflect chronology, but at other times cut across the 20 years of Vermeer's working life. Because he died young, this highlights the obsessions that preoccupied him.
Why does Vermeer overwhelm me? Light, of course. Skill, like little else our species has ever manifested. But I think I am most taken by the specificity of the vision. These are not commissioned portraits of the rich and powerful. Rather they are reflections of the ordinary, of his family and servants (perhaps), of his neighbors, of some stylized or idealized figure. He might have started painting "tronies" to get commissions, but they quickly became an end in themselves. The reason for the art. That is one reason -- along with his inventions of the techniques of shadowing, the solitary, introverted figures, the dailiness of it all -- that makes the paintings so modern, or rather that carries them through time.
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July 13, 2023See NYRB 20/07/2023: 32-34
August 1, 2023
For me, arguably the best catalog ever which, having read almost all of it before actually going to this once-in-a-lifetime exhibition, helped me really "see" and enjoy Vermeer's extraordinary paintings with historical context, richer understanding of symbolism, interpretation of meaning, and far deeper appreciation for his artistic mastery. In fascinating manner the instructive essays describe - along with accompanying close-up detail photographs - Vermeer's entire known oeuvre, not just the paintings that were included in the exhibition, which makes this beautifully designed catalog a very worthy addition in its own right to any art (history) book library.
May 18, 2023
Not what I expected. This is collection of scholarly works that shine a light into just about every corner of the universe of Vermeer, his life, and his work. It will no doubt delight art historians and other serious students of Vermeer. Unfortunately, I am neither. I found the reproductions printed on uncoated paper disappointing and not worthy of the effort put into the writing. Not what a first-rate museum exhibit catalog should aspire to be in my humble opinion. And certainly not worthy of all the hype.
August 18, 2024
I enjoyed the essays which each focused on a few paintings grouped together. The close-up details of various paintings were a nice touch. The biggest problem was that the book was printed on heavy, matte paper which left the paintings looking muddy. Of course, the internet exists making it easy to find better looking views. I was privileged to see Vermeer and The Masters of Genre Painting in Washington, DC a few years back, and even computer images cannot match the sight of a Vermeer in person. His blues are amazing, but his yellows just glow with an almost unearthly shine.
February 24, 2025
A 2023 Staff Nonfiction Favorite for Rob! For readers of I. M. Pei by Shirley Surya and Vermeer and The Masters of Genre Painting: Inspiration and Rivalry by Adriaan E. Waiboer.
Check our catalog: https://encore.cooklib.org/iii/encore...
Check our catalog: https://encore.cooklib.org/iii/encore...
July 17, 2025
While I found this book to be very interesting, it is not a light read. The authors disect Vermeers life and paintings in great detail. There are very helpful comparisons to show you what vermeer might have looked at to achieve some of his artwork
January 30, 2024
Good exhibition book
July 20, 2024
Interesting details about each of the 37 known works by Vermeer. We have seen more than half and plan to see as many as possible. Follows a few good documentaries we’ve seen.
April 17, 2025
Excellent book with information on Vermeer and excellent illustrations.
June 13, 2023
Deutscher Katalog zur Ausstellung im Rijksmuseum: 28 Gemälde Vermeers - über die Hälfte der Bilder, die dem Delfter Meister zugeschrieben werden. Der Katalog enthält viel zusätzliche Informationen und Details zu den Bildern. Besonders schön: zahlreiche Detail-Aufnahmen aus den Gemälden, die die einzelnen Kapitel verdeutlichen - auch nach der Ausstellung kann man noch was dazu lernen
Displaying 1 - 13 of 13 reviews