L' ambizione di Vermeer

by Daniel Arasse

Through a historical analysis of Vermeer's method of production and a close reading of his work, Daniel Arasse explores the originality of this artist in the context of 17th-century Dutch painting. Arguing that Vermeer was not a painter in the conventional, commercial sense, Arasse suggests that his confrontation with painting represented a very personal and ambitious effort to define a new pictorial practice within the classical tradition of his art. By examining Vermeer's approach to image-making, the author finds that his works demonstrate the concept of painting as a medium through which the viewer senses the presence of life. Not only does this concept of painting carry on the traditions of classical antiquity and the Renaissance, but it also relates to Catholic ideas about spiritual meditation and the power of images.

Genres: Art, Art History

Hardcover

First published January 1, 1994

About the author

L'historien de l’art français, spécialiste de la Renaissance et de l'art italien.

http://fr.wikipedia.org/wiki/Daniel_A...

Reviews

[Margot · Rating 5 out of 5]

Daniel Arasse is probably one of the greatest historian of arts of the 20th century. His vision of art is so accurate and articulate that I just dream of becoming like him.
His approach of Vermeer is as brilliant as the rest of his publications. It allows us to see how to study a painting properly, beynd the consideration of iconography that is sometimes making us blind to the rest of the aspects of a painting. A small encounter with Vermeer and his painting.... a book about a genius, written by a genius.

[miri · Rating 4 out of 5]

The only reason this isn’t a 5/5 was because it heavily deals with “Art of Painting” and “Allegory of Faith.” One could argue that “Girl with Pearl Earring” and “Woman Holding Balance” have been explored enough, but I still wanted Arasse’s point of view.
He describes Vermeer’s style as allusive and evocative, continuously in the paradox between proximity and isolation of genre paintings.
I found his hesitation in doing an iconographic approach in the name of anachronism quite interesting, since Vermeer’s paintings have weighted references (which he suggests should not be studied alone)
I enjoyed the writing, like “economizing allusions to the exterior world” as well as his beautiful exploration on light as coherence and accurate, not as theatrical.

[Valerie · Rating 3 out of 5]

I picked this up many years ago and still have the book. the plates are lovely.