The author offers intriguing insights into the way this Dutch artist worked, including fresh perspectives on The Girl With the Pearl Earring
In the decades after the death of the Dutch artist Johannes Vermeer in 1675, few knew his name or work. He was so unknown that his paintings were sold with the forged signatures of more popular artists attached. All that changed in the mid-19th century, when his art was reassessed by French critics. Today Vermeer is one of the most admired painters in the world, although, says art historian Andrew Graham-Dixon, he has “proved stubbornly resistant to interpretation”.
Vermeer: A Life Lost and Found, Graham-Dixon’s biography which was six years in the writing, endeavours to answer some unresolved questions, among them: what was Vermeer’s life like? Why did he paint the way he did? What was the intent behind his paintings, of which only 36 exist? Unlike the Dutch genre painters of his time, the Delft-born Vermeer painted solemn yet luminous works featuring women in domestic settings and engaged in activities such as reading, writing, playing music or pouring milk. His ability to render light, and its softening effect on rooms and people, was unparalleled.
