The Art of Painting (Vermeer)

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The Art of Painting

Artist	Johannes Vermeer
Year	c. 1666
Type	Oil on canvas
Dimensions	130 cm × 110 cm (51 in × 43 in)
Location	Kunsthistorisches Museum, Vienna

The Art of Painting, also known as The Allegory of Painting, or Painter in his Studio, is a famous 17th century oil on canvas painting by Dutch painter, Johannes Vermeer. Many art experts believe that the work of art is an allegory of painting, hence the alternate title of the painting. It is the largest and most complex of all of Vermeer's works.^[1]

The painting is famous for being one of Vermeer's favourites, and is also a fine example of the optical style of painting. Created in an age without photography, it offers a realistic visual depiction of the scene. The use of bright colours, and the impact of light streaming through the windows on various elements of the painting, are other highlights.

Contents 1 Description 1.1 Elements 1.2 Symbolism and allegory 2 History 2.1 Nazi interest 3 Location 4 References

[edit] Description

The painting depicts an intimate scene of a painter painting a female subject in his studio, by a window, with the background of a large map of the Netherlands.

[edit] Elements

The painting has only two characters, the painter and his subject. The painter is thought to be a self-portrait of the artist, though the face is not visible.

A number of the items shown in the artist's studio are thought to be out of place. The marble tiled floor and the golden chandellier are two examples of items which would normally then be reserved for the houses of the well-to-do.

The map in the background is of the Seventeen United Provinces of the Netherlands, flanked by views of the main centres of power. It was published by Claes Jansz Visscher in 1636.

[edit] Symbolism and allegory

Experts attribute symbolism to various aspects of the painting.

The subject is the Muse of History, Clio. This is evidenced by her wearing a laurel wreath, holding a trumpet (depicting fame), and may be carrying a book by Thucydides, according to Cesare Ripa's 16th century book on emblems and personifications titled Iconologia.

The double headed eagle, symbol of the Austrian Habsburg dynasty and former rulers of Holland, which adorns the central golden chandelier, may have represented the Catholic faith. Vermeer was unique in being a Catholic in a predominantly Protestant Holland. The absence of candles in the chandelier is also supposed to represent the suppression of the Catholic faith.

The map on the back wall has a rip that divides the Netherlands between the north and south. (West is at the top of the map, as was the custom.) The rip symbolizes the division between the Dutch Republic to the north and the Habsburg controlled provinces to the south. The map by Claes Jansz Visscher (Nicolaum Piscatorem) predates the painting and shows the earlier political division between the Union of Utrecht to the north, and the colonies to the south.^[2]

The mask lying on the table next to the artist is thought to be a death mask, depicting the ineffectiveness of the Habsburg monarch.^{[citation needed]}

Salvador Dalí refers to "The Art of Painting" in his own surrealistic painting The Ghost of Vermeer of Delft Which Can Be Used As a Table (1934). On Dali's painting we can see the image of Vermeer viewed from his back re-created as a strange kind of table.

[edit] History

The painting is considered an essential Vermeer piece because the painter himself did not part with it or sell it, even when he was in debt. In 1676, his widow Catharina bequeathed it to her mother, Maria Thins, in an attempt to avoid the sale of the painting to satisfy creditors.^[3] The executor of Vermeer's estate, the famed Delft microscopist Anton van Leeuwenhoek, determined that the transferral of the work to the late painter's mother-in-law was illegal.

The painting belonged to the inheritants of Gottfried van Swieten until its purchase for 50 florins in 1813 by the Austrian count, Johann Rudolf Czernin.^[4] Until 1860, the painting masqueraded as one by Vermeer's arch rival and contemporary, Pieter de Hooch. Pieter's signature was even forged on the painting. It was at the intervention of French Vermeer scholar, Thoré Bürger and the German art historian Gustav Friedrich Waagen that it was recognised as a Vermeer original and hence began its fame. It was placed on public display in the Czernin Museum in Vienna. Andrew W. Mellon was not the only one who tried to buy the painting.^[5]

[edit] Nazi interest

After the Nazi invasion of Austria, top Nazi officials including Reichsmarschall Hermann Göring attempted to acquire the painting. It was finally acquired from its then owner, Count Jaromir Czernin by Adolf Hitler for his personal collection at a price of 1.65 million Reichsmark through his agent, Hans Posse on November 20, 1940 ^[6]. The painting was rescued from a salt mine at the end of World War II in 1945, where it was preserved from Allied bombing raids, with other works of art.

The Americans presented the painting to the Austrian Government in 1946, since the Czernin family were deemed to have sold it voluntarily, without undue force from Hitler. It is now the property of the State of Austria.

[edit] Location

The painting is presently on display at the Kunsthistorisches Museum in Vienna, Austria, where it has been on display since it was acquired by the Austrian government in 1946.

[edit] References