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Updated: August 20, 2024
Morgan's bronze Eros from Pompeii, and the various cases of porcelain from a score of collections. But without extra allurements I should have been drawn again and again to this magnificent museum. Two of the principal metropolitan donors Altman and Hearn were the owners of big dry goods stores, while Marquand, whose little Vermeer is probably the loveliest thing in America, was also a merchant.
Since writing the above I had on my return to America the pleasure of reading Philip L. Hale's wholly admirable study of Vermeer, and many dark places were made clear; especially concerning the place in the catalogue of 1696 of the Widener picture, Lady Weighing Gold, often called Lady Weighing Pearls, because there are pearls on the table about to be weighed. Mr.
Mo patted his arm and turned towards the crowd. Rhiannon was standing in front of a large photograph, head tipped back, absorbed. "Isn't Vermeer a painter?" she asked as he moved next to her. "Yep, Dutch, sixteen hundreds I think. Not many paintings survive, but they're all great." A tag on the wall beside the photograph read, Jade Willow Lady / Vermeer. She was wearing a white cook's jacket.
That would give the thirty-fifth to the Portrait of a Man in the Brussels Museum. Setting aside the two interiors and the second View of Delft as not being in the field of the authentic, there remain the Morgan and the Widener Vermeers. Which of the pair is the thirty-fifth Vermeer? They are both masterpieces, though the Morgan is blacker and has been overcleaned.
Down-stairs is an allegorical subject, The New Testament, which is not very convincing as a composition, but warm in tint. The Diana and Her Companions must have inspired Diaz and many other painters. But the real Vermeer, the Vermeer of the enamelled surfaces and soft pervasive lighting, is at Amsterdam. No place is better than The Hague for the study of the earlier Rembrandt. Dr.
The most wonderful Rembrandt, Velasquez, Turner, Hobbema, Van Dyck, Raphael, Frans Hals, Romney, Gainsborough, Whistler, Corot, Mauve, Vermeer, Fragonard, Botticelli, and Titian reproductions followed in such rapid succession as fairly to daze the magazine readers. Four pictures were given in each number, and the faithfulness of the reproductions astonished even their owners.
These are rather melancholy, inexpressive; the flesh tints are anaemic, almost morbid. We are far away from the Vermeer of the Milkmaid and the Letter. There is something disquieting in this portrait, but it is a masterpiece of paint and character.
Bürger, who called Vermeer the Sphinx among artists, has generously attributed to him 76 pictures. This was in 1866, and since then a more savant authority has reduced the number to 40. Havard admits 56. The Vermeer of Haarlem was to blame for this swollen catalogue. Bredius and De Groot have attenuated the list.
The new Vermeer purchased from the Six gallery in 1908 is now called The Cook; it was formerly known as The Milkmaid. A stoutly built servant is standing behind a table covered with a green cloth, on which are displayed a basket of bread, a jug of Nassau earthenware, and a stone pot into which she is pouring milk from a can.
Hale, who, as a painter, knows whereof he speaks, styles Vermeer as "the greatest painter who ever lived," and meets all the very natural objections to such a bold statement. Who doubts this should visit Berlin, Dresden, Vienna, and Amsterdam, and for ever after hold his peace.
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