Vermeer and the Invention of Seeing
This book begins with a single premise: that Vermeer painted images not only of extraordinary beauty, but of extraordinary strangeness. To understand that strangeness, Bryan Jay Wolf turns to the history of early modernism and to ways of seeing that first developed in the seventeenth century. In a series of provocative readings, Wolf presents Vermeer in bracing new ways, arguing for the painter's immersion in—rather than withdrawal from—the intellectual concerns of his day.
The result is a Vermeer we have not seen before: a painter whose serene spaces and calm subjects incorporate within themselves, however obliquely, the world's troubles. Vermeer abandons what his predecessors had labored so carefully to achieve: legible spaces, a world of moral clarity defined by the pressure of a hand against a table, or the scatter of light across a bare wall. Instead Vermeer complicated Dutch domestic art and invented what has puzzled and captivated his admirers ever since: the odd daubs of white pigment, scattered across the plane of the canvas; patches of blurred surface, contradicting the painting's illusionism without explanation; and the querulous silence that endows his women with secrets they dare not reveal.
This beautifully illustrated book situates Vermeer in relation to his predecessors and contemporaries, and it demonstrates how powerfully he wrestled with questions of gender, class, and representation. By rethinking Vermeer's achievement in relation to the early modern world that gave him birth, Wolf takes northern Renaissance and early modern studies in new directions.
What people are saying - Write a review
We haven't found any reviews in the usual places.
aesthetic ahout ahove ahstracted Alpers amhitions anxieties Art of Painting artist camera ohscura Camhridge University Press canvas Cartesian century Clio Counter-Reformation craquelure culture defined Delft Descartes descrihed douhle drama Dutth early modern emhlematic emhlems everyday feminized figure foreground forms gaze gender genre painting Girl Goltzius hack hackground hand haroque Haven and London hecomes heen hefore hegins hehind hetween heyond hinary hodily hody HOOCH AND DOMESTICITY hoth houndaries hring hut hecause ideological intellectual JAY WOLF Johannes Vermeer Jonathan Israel lahor Lawrence Gowing Lawrence Weschler letter maulstick Mieris mirror mode moral Museum narrative nation Netscher notes ohjects ohserve painter painting's possihle puhlic reahu reification relation Remhrandt Renaissance Ruhens Ruhens's seventeenth sexual Simon Schama social space studio suhject suhstitutes symholic tahle thinking Thomas Eakins trans TRANSGRESSION Vermeer Vermeer's painting viewer visual Wineglass woman women writing Yale University Yale University Press York