{"id":1433,"date":"2015-02-17T09:42:54","date_gmt":"2015-02-17T07:42:54","guid":{"rendered":"http:\/\/tacotichelaar.nl\/wordpress\/?page_id=1433"},"modified":"2025-07-01T07:11:10","modified_gmt":"2025-07-01T05:11:10","slug":"vermeer-the-art-of-painting","status":"publish","type":"page","link":"https:\/\/tacotichelaar.nl\/wordpress\/schilders-en-schilderijen\/vermeer-the-art-of-painting\/","title":{"rendered":"The Art of Painting by Johannes Vermeer"},"content":{"rendered":"<p><i><b>The Art of Painting<\/b><\/i>, also known as <i><b>The Allegory of Painting<\/b><\/i>, or the <i><b>Painter in His Studio<\/b><\/i>, is a 17th-century <a title=\"\" href=\"https:\/\/en.wikipedia.org\/wiki\/Oil_painting\">oil-on-canvas painting<\/a> by Dutch painter <a title=\"Johannes Vermeer\" href=\"https:\/\/en.wikipedia.org\/wiki\/Johannes_Vermeer\">Johannes Vermeer<\/a>. Many art historians interpret the scene as an <a title=\"Allegory\" href=\"https:\/\/en.wikipedia.org\/wiki\/Allegory\">allegory<\/a> of the art of <a title=\"\" href=\"https:\/\/en.wikipedia.org\/wiki\/Painting\">painting<\/a> itself, which explains the alternative title. After <i><a title=\"\" href=\"https:\/\/en.wikipedia.org\/wiki\/Christ_in_the_House_of_Martha_and_Mary_%28Vermeer%29\">Christ in the House of Martha and Mary, <\/a><\/i>it is Vermeer&#8217;s largest known work. As in <a title=\"The Allegory of Faith\" href=\"https:\/\/en.wikipedia.org\/wiki\/The_Allegory_of_Faith\">The Allegory of Faith<\/a>, this is one of the few works by Vermeer in which part of the ceiling is visible<span class=\"aNeGP0gI0B9AV8JaHPyH\" data-src-align=\"15:81\">.<\/span>&nbsp;Its intricate composition and rich <a title=\"\" href=\"https:\/\/en.wikipedia.org\/wiki\/Iconography\">iconography<\/a> also make it the most complex painting in his oeuvre. <span class=\"aNeGP0gI0B9AV8JaHPyH\" data-src-align=\"93:140\">Though most of Vermeer\u2019s works are quiet, domestic genre scenes, <em data-start=\"402\" data-end=\"423\">The Art of Painting<\/em> stands apart in its ambition and intellectual reach. <\/span>The work is owned by the <a class=\"mw-redirect\" title=\"\" href=\"https:\/\/en.wikipedia.org\/wiki\/Austrian_Republic\">Austrian Republic<\/a> and is housed in the <a title=\"Kunsthistorisches Museum\" href=\"https:\/\/en.wikipedia.org\/wiki\/Kunsthistorisches_Museum\">Kunsthistorisches Museum<\/a> in Vienna.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/5\/5e\/Jan_Vermeer_-_The_Art_of_Painting_-_Google_Art_Project.jpg\/800px-Jan_Vermeer_-_The_Art_of_Painting_-_Google_Art_Project.jpg\" alt=\"L'Art de la peinture de Johannes Vermeer.\"><\/p>\n<p>This illusionistic painting is one of Vermeer&#8217;s most celebrated works. Art historian <a title=\"Svetlana Alpers\" href=\"https:\/\/en.wikipedia.org\/wiki\/Svetlana_Alpers\">Svetlana Alpers<\/a> describes it as both <em>unique<\/em> and <em>ambitious<\/em>.<sup class='footnote'><a href='#fn-1433-1' id='fnref-1433-1' onclick='return fdfootnote_show(1433)'>1<\/a><\/sup> <\/span><a title=\"\" href=\"https:\/\/en.wikipedia.org\/wiki\/Walter_Liedtke\">Walter Liedtke<\/a> calls it &#8220;a virtuoso display of the artist&#8217;s power of invention and execution, staged in an imaginary version of his studio.&#8221;<sup class='footnote'><a href='#fn-1433-2' id='fnref-1433-2' onclick='return fdfootnote_show(1433)'>2<\/a><\/sup> <\/span><\/span>According to <a href=\"https:\/\/en.wikipedia.org\/wiki\/Albert_Blankert\" target=\"_blank\" rel=\"noopener\">Albert Blankert<\/a>. &#8220;No other painting so flawlessly integrates naturalistic technique, brightly illuminated space, and a complexly integrated composition.&#8221;<sup class='footnote'><a href='#fn-1433-3' id='fnref-1433-3' onclick='return fdfootnote_show(1433)'>3<\/a><\/sup> Vermeer was known for working slowly and with meticulous care, often using costly <a class=\"mw-redirect\" title=\"Pigments\" href=\"https:\/\/en.wikipedia.org\/wiki\/Pigments\">pigments<\/a>. He is especially admired for his masterful treatment of light, which plays a central role in this composition as in many of his works.<\/span><\/p>\n<div id=\"toc\" class=\"toc\">\n<div id=\"toctitle\">\n<h2>Contents<\/h2>\n<\/div>\n<\/div>\n<div id=\"toc\" class=\"toc\">\n<ul>\n<li class=\"toclevel-1 tocsection-1\"><span class=\"tocnumber\">1<\/span> <span class=\"toctext\">Description<\/span>\n<ul>\n<li class=\"toclevel-2 tocsection-2\"><span class=\"tocnumber\">1.1<\/span> <span class=\"toctext\">Elements<\/span><\/li>\n<li class=\"toclevel-2 tocsection-3\"><span class=\"tocnumber\">1.2<\/span> <span class=\"toctext\">Symbolism and Allegory<\/span><\/li>\n<\/ul>\n<\/li>\n<li class=\"toclevel-1 tocsection-4\"><span class=\"tocnumber\">2<\/span> <span class=\"toctext\">Provenance<\/span>\n<ul>\n<li class=\"toclevel-2 tocsection-5\"><span class=\"tocnumber\">2.1<\/span> <span class=\"toctext\">Nazi interest<\/span><\/li>\n<li class=\"toclevel-2 tocsection-6\"><span class=\"tocnumber\">2.2<\/span> R<span class=\"toctext\">equest by the heirs for restitution<\/span><\/li>\n<\/ul>\n<\/li>\n<li class=\"toclevel-1 tocsection-7\"><span class=\"tocnumber\">3<\/span> <span class=\"toctext\">References<\/span><\/li>\n<\/ul>\n<\/div>\n<h2><span id=\"Description\" class=\"mw-headline\">Description<\/span><\/h2>\n<div class=\"thumb tright\">\n<div class=\"thumbinner\">\n<div class=\"thumbcaption\">\n<p>The painting shows an artist at work in his studio, painting a young woman who poses near a window, with a large map of the <a class=\"mw-redirect\" title=\"Low countries\" href=\"https:\/\/en.wikipedia.org\/wiki\/Low_countries\">Low countries<\/a> hanging on the wall behind her. Vermeer signed the work on the map, just behind the model&#8217;s neck, but did not include a date. In 1663, the French traveller <a title=\"Balthasar de Monconys\" href=\"https:\/\/en.wikipedia.org\/wiki\/Balthasar_de_Monconys\">Balthasar de Monconys<\/a> visited Vermeer, but reported that he had no painting to show at that time. Most scholars date <em data-start=\"588\" data-end=\"609\">The Art of Painting<\/em> to around 1665\u20131668, though some argue it may have been completed as late as 1670\u20131675.<sup class='footnote'><a href='#fn-1433-4' id='fnref-1433-4' onclick='return fdfootnote_show(1433)'>4<\/a><\/sup> It may have been created, as one source suggests, &#8220;in order to have an outstanding specimen of his art in his studio.&#8221;<sup class='footnote'><a href='#fn-1433-5' id='fnref-1433-5' onclick='return fdfootnote_show(1433)'>5<\/a><\/sup><\/a> Vermeer evidently valued the painting highly\u2014he never sold it during his lifetime. As Svetlana Alpers notes, it serves as a kind of summary and reflection on his artistic achievement.<sup class='footnote'><a href='#fn-1433-6' id='fnref-1433-6' onclick='return fdfootnote_show(1433)'>6<\/a><\/sup> <sup class='footnote'><a href='#fn-1433-7' id='fnref-1433-7' onclick='return fdfootnote_show(1433)'>7<\/a><\/sup><\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<h3><span id=\"Elements\" class=\"mw-headline\">Elements<\/span><\/h3>\n<div class=\"thumb tright\">\n<div class=\"thumbinner\">\n<div class=\"thumbcaption\"><img decoding=\"async\" src=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/e\/e4\/Johannes_Vermeer_-_The_Art_of_Painting_%28detail%29_-_WGA24677.jpg\" alt=\"D\u00e9tail du peintre usant de son appuie-main.\"><\/div>\n<div>&nbsp;<\/div>\n<div class=\"thumbcaption\">The painting contains only two figures: the painter and his subject, a young woman with downcast eyes. The painter is thought to be a self-portrait of Vermeer, according to <a title=\"Jean-Louis Vaudoyer\" href=\"https:\/\/en.wikipedia.org\/wiki\/Jean-Louis_Vaudoyer\">Jean-Louis Vaudoyer<\/a>, while Binstock suggests the shy girl may have been one of his daughters.<sup class='footnote'><a href='#fn-1433-8' id='fnref-1433-8' onclick='return fdfootnote_show(1433)'>8<\/a><\/sup><\/div>\n<div>&nbsp;<\/div>\n<div class=\"thumbcaption\">The painter is dressed in clothing that was already old-fashioned in Vermeer\u2019s time. His outfit\u2014a slashed doublet, voluminous breeches, and a soft beret\u2014evokes styles associated with earlier, Burgundian court fashion. The curtain and the Spanish chair serve as <a title=\"\" href=\"https:\/\/en.wikipedia.org\/wiki\/Repoussoir\">repoussoirs<\/a>, guiding the viewer\u2019s eye into the composition.&nbsp;<\/div>\n<\/div>\n<\/div>\n<p><figure style=\"width: 200px\" class=\"wp-caption alignleft\"><a class=\"image\" title=\"\" href=\"https:\/\/en.wikipedia.org\/wiki\/File:Leo_belgicus.png\"><img loading=\"lazy\" decoding=\"async\" class=\"thumbimage\" src=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/4\/4e\/Leo_belgicus.png\/200px-Leo_belgicus.png\" alt=\"\" width=\"200\" height=\"165\" data-file-width=\"3326\" data-file-height=\"2742\"><\/a><figcaption class=\"wp-caption-text\"><a href=\"https:\/\/en.wikipedia.org\/wiki\/Leo_Belgicus\" target=\"_blank\" rel=\"noopener\">Leo Belgicus<\/a> by Visscher (1611)<sup class='footnote'><a href='#fn-1433-9' id='fnref-1433-9' onclick='return fdfootnote_show(1433)'>9<\/a><\/sup><\/figcaption><\/figure>The map in the background shows the <a title=\"Seventeen Provinces\" href=\"https:\/\/en.wikipedia.org\/wiki\/Seventeen_Provinces\">Seventeen Provinces<\/a> of the Netherlands, flanked by twenty views of prominent cities.<sup class='footnote'><a href='#fn-1433-10' id='fnref-1433-10' onclick='return fdfootnote_show(1433)'>10<\/a><\/sup>&nbsp;<\/span>In the upper left corner, two female allegorical figures appear &#8212; one holding a <a class=\"mw-redirect\" title=\"Cross-staff\" href=\"https:\/\/en.wikipedia.org\/wiki\/Cross-staff\">cross-staff<\/a> and compasses, the other a painter&#8217;s palette, brush and a city view.<sup class='footnote'><a href='#fn-1433-11' id='fnref-1433-11' onclick='return fdfootnote_show(1433)'>11<\/a><\/sup> <\/span>Painted ships sail across the folds of the map, adding a dynamic touch. The map was published by <a class=\"mw-redirect\" title=\"Claes Janszoon Visscher\" href=\"https:\/\/en.wikipedia.org\/wiki\/Claes_Janszoon_Visscher\">Claes Janszoon Visscher<\/a> in 1636 under the title \u201eNova XVII Provinciarum Germaniae inferioris descriptio \/ et accurata earundem \u2026 de novo emendata \u2026 rectissime edita per nicolaum piscatorem\u201c. Versions of this map without the city views can also appear on paintings by <a title=\"Jacob Ochtervelt\" href=\"https:\/\/en.wikipedia.org\/wiki\/Jacob_Ochtervelt\">Jacob Ochtervelt<\/a> and <a title=\"Nicolaes Maes\" href=\"https:\/\/en.wikipedia.org\/wiki\/Nicolaes_Maes\">Nicolaes Maes<\/a>. Comparable maps were found in the <a class=\"mw-redirect\" title=\"Biblioth\u00e8que Nationale\" href=\"https:\/\/en.wikipedia.org\/wiki\/Biblioth%C3%A8que_Nationale\">Biblioth\u00e8que Nationale<\/a> in Paris <sup id=\"cite_ref-13\" class=\"reference\"><\/sup>and in the <a class=\"mw-redirect\" title=\"Skokloster\" href=\"https:\/\/en.wikipedia.org\/wiki\/Skokloster\">Skokloster<\/a> in Sweden.<sup class='footnote'><a href='#fn-1433-12' id='fnref-1433-12' onclick='return fdfootnote_show(1433)'>12<\/a><\/sup> <sup class='footnote'><a href='#fn-1433-13' id='fnref-1433-13' onclick='return fdfootnote_show(1433)'>13<\/a><\/sup><\/span><\/p>\n<p>Vermeer had a theoretical interest in painting. Several objects in the scene\u2014a <a title=\"Plaster\" href=\"https:\/\/en.wikipedia.org\/wiki\/Plaster\">plaster<\/a> mask, perhaps alluding to the <a title=\"Paragone\" href=\"https:\/\/en.wikipedia.org\/wiki\/Paragone\">paragone <\/a>debate,<sup class='footnote'><a href='#fn-1433-14' id='fnref-1433-14' onclick='return fdfootnote_show(1433)'>14<\/a><\/sup> pieces of cloth, a <a title=\"Folio\" href=\"https:\/\/en.wikipedia.org\/wiki\/Folio\">folio<\/a>, and some leather on the table \u2014are difficult to interpret, but may symbolize the Liberal Arts.<sup class=\"noprint Inline-Template Template-Fact\">[<i><a title=\"Wikipedia:Citation needed\" href=\"https:\/\/en.wikipedia.org\/wiki\/Wikipedia:Citation_needed\"><span title=\"This claim needs references to reliable sources. (June 2014)\">citation needed<\/span><\/a><\/i>]<\/sup> The marble-tiled floor and the ornate gilt chandelier highlight Vermeer\u2019s craftsmanship and his mastery of <a title=\"Perspective (graphical)\" href=\"https:\/\/en.wikipedia.org\/wiki\/Perspective_%28graphical%29\">perspective<\/a>. The vanishing point lies just in front of the model, directly beneath the wooden knob of the map rod.<sup class='footnote'><a href='#fn-1433-15' id='fnref-1433-15' onclick='return fdfootnote_show(1433)'>15<\/a><\/sup> There are no visible corrections in the work\u2014the composition and color scheme were conceived with meticulous precision from the outset.&nbsp;<\/p>\n<h3><span id=\"Symbolism_and_allegory\" class=\"mw-headline\">Symbolism and Allegory<\/span><\/h3>\n<div class=\"thumb tleft\">\n<div class=\"thumbinner\">\n<div class=\"thumbcaption\">Art historians have identified symbolic meanings in several elements of this (academic) painting. The female figure is widely believed to represent a muse, most likely <a title=\"Clio\" href=\"https:\/\/en.wikipedia.org\/wiki\/Clio\">Clio<\/a>,<sup class='footnote'><a href='#fn-1433-16' id='fnref-1433-16' onclick='return fdfootnote_show(1433)'>16<\/a><\/sup> the <a title=\"\" href=\"https:\/\/en.wikipedia.org\/wiki\/Muse\">Muse<\/a> of <a title=\"History\" href=\"https:\/\/en.wikipedia.org\/wiki\/History\">History<\/a>,<sup class='footnote'><a href='#fn-1433-17' id='fnref-1433-17' onclick='return fdfootnote_show(1433)'>17<\/a><\/sup> &#8220;the proclaimer, glorifier and celebrator of history, great deeds and accomplishments&#8221;. This interpretation is supported by her attributes: she wears a <a title=\"Laurel wreath\" href=\"https:\/\/en.wikipedia.org\/wiki\/Laurel_wreath\">laurel wreath<\/a>, holds a trumpet, and carries a book, possibly by <a title=\"Herodotus\" href=\"https:\/\/en.wikipedia.org\/wiki\/Herodotus\">Herodotus<\/a> or <a title=\"Thucydides\" href=\"https:\/\/en.wikipedia.org\/wiki\/Thucydides\">Thucydides<\/a>. These features match the description of Clio in <a title=\"Cesare Ripa\" href=\"https:\/\/en.wikipedia.org\/wiki\/Cesare_Ripa\">Cesare Ripa<\/a>&#8216;s 16th century <a class=\"mw-redirect\" title=\"Emblems\" href=\"https:\/\/en.wikipedia.org\/wiki\/Emblems\">emblem<\/a> book&nbsp;<i><a class=\"mw-redirect\" title=\"Iconologia\" href=\"https:\/\/en.wikipedia.org\/wiki\/Iconologia\">Iconologia<\/a><\/i>.<sup class='footnote'><a href='#fn-1433-18' id='fnref-1433-18' onclick='return fdfootnote_show(1433)'>18<\/a><\/sup> <sup class='footnote'><a href='#fn-1433-19' id='fnref-1433-19' onclick='return fdfootnote_show(1433)'>19<\/a><\/sup> However, according to Ripa, History should be looking backward and not downward as she does in this painting.<sup class='footnote'><a href='#fn-1433-20' id='fnref-1433-20' onclick='return fdfootnote_show(1433)'>20<\/a><\/sup><\/div>\n<div>&nbsp;<\/div>\n<div class=\"thumbcaption\">\n<figure style=\"width: 250px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/b\/bf\/Ripa_-_Iconologie_-_1643_-_II_-_p._72_-_Clio.jpg\/250px-Ripa_-_Iconologie_-_1643_-_II_-_p._72_-_Clio.jpg\" alt=\"\" width=\"250\" height=\"250\"><figcaption class=\"wp-caption-text\">Clio in: Cesare Ripa, Iconologia, translated into French by Jean Baudoin, p. 72 (1643)<\/figcaption><\/figure>\n<p>Following Vermeer&#8217;s contemporary <a title=\"\" href=\"https:\/\/en.wikipedia.org\/wiki\/Gerard_de_Lairesse\">Gerard de Lairesse<\/a>, who was influenced by <a class=\"mw-redirect\" title=\"French Classicism\" href=\"https:\/\/en.wikipedia.org\/wiki\/French_Classicism\">French Classicism<\/a> and the emblem tradition of Ripa, another interpretation is possible: De Lairesse describes History and Poetry as the principal sources of inspiration for a painter.<sup class='footnote'><a href='#fn-1433-21' id='fnref-1433-21' onclick='return fdfootnote_show(1433)'>21<\/a><\/sup> <sup class='footnote'><a href='#fn-1433-22' id='fnref-1433-22' onclick='return fdfootnote_show(1433)'>22<\/a><\/sup> The female figure, dressed in a blue, could therefor also represent Poetry; <sup class='footnote'><a href='#fn-1433-23' id='fnref-1433-23' onclick='return fdfootnote_show(1433)'>23<\/a><\/sup> in that case, the map behind her would symbolize History.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<div>\n<p><span class=\"aNeGP0gI0B9AV8JaHPyH\" data-src-align=\"93:140\">According to De Lairesse, Poetry holds a trumpet in her right hand and a scroll or stage manuscript in her left. She is crowned with laurel, as her task is to immortalize deeds and trumpet the praise of heroes.<sup class='footnote'><a href='#fn-1433-24' id='fnref-1433-24' onclick='return fdfootnote_show(1433)'>24<\/a><\/sup><\/span><\/p>\n<figure style=\"width: 170px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" class=\"\" src=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/c\/cb\/Moreelse_Clio_-_muse_of_history.jpg\/250px-Moreelse_Clio_-_muse_of_history.jpg\" alt=\"\" width=\"170\" height=\"225\"><figcaption class=\"wp-caption-text\">Clio by<a href=\"https:\/\/en.wikipedia.org\/wiki\/Johannes_Moreelse\" target=\"_blank\" rel=\"noopener\"> Johannes Moreelse<\/a><\/figcaption><\/figure>\n<\/div>\n<p><span style=\"color: #003300;\"><a style=\"color: #003300;\" href=\"https:\/\/en.wikipedia.org\/wiki\/Samuel_Dirksz_van_Hoogstraten\" target=\"_blank\" rel=\"noopener\">Samuel van Hoogstraten<\/a><\/span> wrote &#8220;&#8230; history offers such rich material to those who aspire to the highest level of painting that the variety of subjects is virtually endless&#8230; On this most exalted level of painting, Clio\u2014the foremost among her sisters\u2014sits surrounded by a thousand open books: she offers ample inspiration even for the smallest of scenes, and when well executed, she will reward the painter with honour and glory.&#8221;<span style=\"color: #003300;\"><sup class='footnote'><a href='#fn-1433-25' id='fnref-1433-25' onclick='return fdfootnote_show(1433)'>25<\/a><\/sup><\/span><\/p>\n<div class=\"thumb tleft\">\n<div class=\"thumbinner\">\n<div class=\"thumbcaption\">\n<div>In the words of media theorist Jens Schr\u00f6ter, Vermeer\u2019s <em data-start=\"397\" data-end=\"414\">Art of Painting<\/em> does not present the act of painting as a physical or expressive gesture, but as a symbolic and intellectual event. The painter is placed in an idealized studio setting, where the creative act is silent, frozen, and elevated \u2014 a representation of thought and theory rather than manual execution.<sup class='footnote'><a href='#fn-1433-26' id='fnref-1433-26' onclick='return fdfootnote_show(1433)'>26<\/a><\/sup><\/div>\n<div>&nbsp;<\/div>\n<div>This dual reference to History and Poetry recalls the long-standing tradition of allegorically pairing the arts. As Michael Thimann has noted, such personifications often served to distinguish painting\u2019s material power from poetry\u2019s idealizing force.<sup class='footnote'><a href='#fn-1433-27' id='fnref-1433-27' onclick='return fdfootnote_show(1433)'>27<\/a><\/sup>&nbsp;<\/div>\n<\/div>\n<\/div>\n<div class=\"thumbinner\">\n<div class=\"thumbcaption\">\n<div>&nbsp;<\/div>\n<div class=\"thumbcaption\"><img decoding=\"async\" class=\"alignright\" src=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/7\/77\/Johannes_Vermeer_-_The_Art_of_Painting_%28detail%29_-_WGA24678.jpg\/250px-Johannes_Vermeer_-_The_Art_of_Painting_%28detail%29_-_WGA24678.jpg\" alt=\"A theorized double eagle on top the chandelier[24]\">The <a class=\"mw-redirect\" title=\"Double headed eagle\" href=\"https:\/\/en.wikipedia.org\/wiki\/Double_headed_eagle\">double headed eagle<\/a>, symbol of the Habsburg Holy Roman Empire, possibly adorns the central golden chandelier, may allude to the former rulers of the Low Countries. The large map on the back wall, with west oriented at the top, features a pronounced vertical <a title=\"Crease pattern\" href=\"https:\/\/en.wikipedia.org\/wiki\/Crease_pattern\">crease<\/a> that divides the Seventeen Provinces into north and south. This crease is often interpreted as symbolizing the political separation between the <a title=\"Dutch Republic\" href=\"https:\/\/en.wikipedia.org\/wiki\/Dutch_Republic\">Dutch Republic<\/a> in the north and the Habsburg-controlled <a title=\"Southern Netherlands\" href=\"https:\/\/en.wikipedia.org\/wiki\/Spanish_Netherlands\" target=\"_blank\" rel=\"noopener\">southern provinces<\/a>. The map reflects an earlier division as well\u2014between the rebellious <a href=\"https:\/\/en.wikipedia.org\/wiki\/Union_of_Utrecht\" target=\"_blank\" rel=\"noopener\">Union of Utrecht<\/a> and the provinces that remained loyal to Spain.<sup class='footnote'><a href='#fn-1433-28' id='fnref-1433-28' onclick='return fdfootnote_show(1433)'>28<\/a><\/sup> However, according to Liedtke political interpretations of both the map and the chandelier are unconvincing; they may overlook other, more central motives.&nbsp;<\/div>\n<\/div>\n<\/div>\n<h3><span id=\"Provenance\" class=\"mw-headline\">Provenance<\/span><\/h3>\n<figure style=\"width: 200px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/e\/e7\/Vermeer-ArtPainting-Signatura-1117.jpg\/200px-Vermeer-ArtPainting-Signatura-1117.jpg\" alt=\"\" width=\"200\" height=\"133\"><figcaption class=\"wp-caption-text\">His <span class=\"aNeGP0gI0B9AV8JaHPyH\" data-src-align=\"21:18\">biggest signature ever<\/span><\/figcaption><\/figure>\n<p>The painting is considered especially significant to the artist, as Vermeer never parted with it\u2014not even when he was in debt. In 1676, his widow Catharina Bolnes transferred the painting to her mother, <a title=\"Maria Thins\" href=\"https:\/\/en.wikipedia.org\/wiki\/Maria_Thins\">Maria Thins<\/a>, in an attempt to avoid the sale of the painting to satisfy creditors,<sup class='footnote'><a href='#fn-1433-29' id='fnref-1433-29' onclick='return fdfootnote_show(1433)'>29<\/a><\/sup> or as <span class=\"aNeGP0gI0B9AV8JaHPyH\" data-src-align=\"4:9\">collateral<\/span> <span class=\"aNeGP0gI0B9AV8JaHPyH\" data-src-align=\"14:4\">for<\/span> <span class=\"aNeGP0gI0B9AV8JaHPyH\" data-src-align=\"23:6\">a loan. <\/span>However, the executor of Vermeer\u2019s estate, the renowned Delft microscopist <a class=\"mw-redirect\" title=\"Anton van Leeuwenhoek\" href=\"https:\/\/en.wikipedia.org\/wiki\/Anton_van_Leeuwenhoek\">Anton van Leeuwenhoek<\/a>, deemed the transfer legally invalid. According to <a title=\"John Michael Montias\" href=\"https:\/\/en.wikipedia.org\/wiki\/John_Michael_Montias\">John Michael Montias<\/a> , it was at the very least a curious transaction. Most of Vermeer\u2019s other paintings were sold at a public auction held by the Lucas Guild in Delft on 15 March 1677.<sup class='footnote'><a href='#fn-1433-30' id='fnref-1433-30' onclick='return fdfootnote_show(1433)'>30<\/a><\/sup>&nbsp;<\/p>\n<p>It is not known who acquired <em data-start=\"768\" data-end=\"789\">The Art of Painting<\/em> at that time, though it is believed to have been <a title=\"Jacob Dissius\" href=\"https:\/\/en.wikipedia.org\/wiki\/Jacob_Dissius\">Jacob Dissius<\/a>, who had already acquired 19 paintings of Vermeer.<sup class='footnote'><a href='#fn-1433-31' id='fnref-1433-31' onclick='return fdfootnote_show(1433)'>31<\/a><\/sup> The painting was likely owned by the physician and art-lover <a href=\"https:\/\/en.wikipedia.org\/wiki\/Gerard_van_Swieten\" target=\"_blank\" rel=\"noopener\">Gerard van Swieten<\/a> and subsequently passed to his son, the diplomat <a title=\"\" href=\"https:\/\/en.wikipedia.org\/wiki\/Gottfried_van_Swieten\">Gottfried van Swiete<\/a><a title=\"\" href=\"https:\/\/en.wikipedia.org\/wiki\/Gottfried_van_Swieten\">n<\/a>, patron of&nbsp;<a class=\"mw-redirect\" title=\"Haydn\" href=\"https:\/\/en.wikipedia.org\/wiki\/Haydn\">Haydn<\/a>,&nbsp;<a class=\"mw-redirect\" title=\"Mozart\" href=\"https:\/\/en.wikipedia.org\/wiki\/Mozart\">Mozart<\/a>&nbsp;and&nbsp;<a class=\"mw-redirect\" title=\"Beethoven\" href=\"https:\/\/en.wikipedia.org\/wiki\/Beethoven\">Beethoven<\/a>.<sup class='footnote'><a href='#fn-1433-32' id='fnref-1433-32' onclick='return fdfootnote_show(1433)'>32<\/a><\/sup> In 1813, it was purchased for 50 <a title=\"Austro-Hungarian gulden\" href=\"https:\/\/en.wikipedia.org\/wiki\/Austro-Hungarian_gulden\">florins<\/a> by the Bohemian-Austrian Count <a title=\"Johann Rudolf Czernin von und zu Chudenitz\" href=\"https:\/\/en.wikipedia.org\/wiki\/Johann_Rudolf_Czernin_von_und_zu_Chudenitz\">Rudolf Czernin<\/a> and placed on public display in the Czernin Museum in Vienna.<\/p>\n<p>Until 1860, the painting was attributed to Vermeer&#8217;s contemporary <a title=\"Pieter de Hooch\" href=\"https:\/\/en.wikipedia.org\/wiki\/Pieter_de_Hooch\">Pieter de Hooch.<\/a> At the time, Vermeer himself was largely forgotten, and his name had nearly vanished from art historical discourse. A forged De Hooch signature had even been added to the canvas. It was only in 1860 that <a title=\"\" href=\"https:\/\/en.wikipedia.org\/wiki\/Gustav_Friedrich_Waagen\">Gustav Friedrich Waagen<\/a>, director of the Royal Gallery in Berlin (<em data-start=\"516\" data-end=\"564\">K\u00f6niglichen Gem\u00e4ldegalerie<\/em>), recognized the painting as a true Vermeer masterpiece.<sup class='footnote'><a href='#fn-1433-33' id='fnref-1433-33' onclick='return fdfootnote_show(1433)'>33<\/a><\/sup> <sup class='footnote'><a href='#fn-1433-34' id='fnref-1433-34' onclick='return fdfootnote_show(1433)'>34<\/a><\/sup><\/p>\n<p>The French art critic and political exile \u00c9tienne-Joseph-Th\u00e9ophile Thor\u00e9, writing under the pseudonym <a class=\"mw-redirect\" title=\"Thor\u00e9 B\u00fcrger\" href=\"https:\/\/en.wikipedia.org\/wiki\/Thor%C3%A9_B%C3%BCrger\">W. B\u00fcrger<\/a>, played a pivotal role in reviving Vermeer&#8217;s reputation. His fascination began in 1842 upon encountering <em data-start=\"849\" data-end=\"864\">View of Delft<\/em> at the Mauritshuis in The Hague. Struck by its beauty and the obscurity of its creator, Thor\u00e9 embarked on a two-decade quest to uncover Vermeer&#8217;s oeuvre. He scoured European museums and archives, attributing numerous works to Vermeer that had previously been misattributed to other artists.<\/p>\n<p>In 1866, Thor\u00e9 published the first major study of Vermeer in the <em data-start=\"1221\" data-end=\"1245\">Gazette des Beaux-Arts<\/em>, asserting that <em data-start=\"1262\" data-end=\"1283\">The Art of Painting<\/em> was among Vermeer&#8217;s most significant works, referring to it as <em data-start=\"1347\" data-end=\"1373\">Vermeer dans son atelier. <\/em>Thor\u00e9&#8217;s dedication culminated in the 1866 Paris exhibition <em>Exposition r\u00e9trospective de tableaux anciens<\/em>, where he showcased several Vermeer paintings, some from his own collection. This exhibition captivated the French public and marked a turning point in Vermeer&#8217;s posthumous recognition.<\/p>\n<h3><span id=\"Nazi_interest\" class=\"mw-headline\">Nazi interest<\/span><\/h3>\n<div class=\"thumbinner\">\n<p>In 1935, Count Czernin attempted to sell the painting to <a title=\"Andrew W. Mellon\" href=\"https:\/\/en.wikipedia.org\/wiki\/Andrew_W._Mellon\">Andrew W. Mellon<\/a>, but the Austrian government prohibited its export as it was considered part of the nation&#8217;s <a title=\"Cultural heritage\" href=\"https:\/\/en.wikipedia.org\/wiki\/Cultural_heritage\">cultural heritage<\/a>.<sup class='footnote'><a href='#fn-1433-35' id='fnref-1433-35' onclick='return fdfootnote_show(1433)'>35<\/a><\/sup> <sup class='footnote'><a href='#fn-1433-36' id='fnref-1433-36' onclick='return fdfootnote_show(1433)'>36<\/a><\/sup>&nbsp;<\/span>After the <a title=\"Anschluss\" href=\"https:\/\/en.wikipedia.org\/wiki\/Anschluss\">annexation of Austria<\/a>, Philipp <a title=\"Reemtsma\" href=\"https:\/\/en.wikipedia.org\/wiki\/Reemtsma\">Reemtsma,<\/a> with the support of Reichsmarschall <a title=\"\" href=\"https:\/\/en.wikipedia.org\/wiki\/Hermann_G%C3%B6ring\">Hermann G\u00f6ring,<\/a> tried to acquire the painting. However, the transaction to a private person was blocked because the work could not legally be sold to a private indidivual. Eventually, on November 20, 1940, it was acquired by Adolf Hitler for his planned <a title=\"F\u00fchrermuseum\" href=\"https:\/\/en.wikipedia.org\/wiki\/F%C3%BChrermuseum\" target=\"_blank\" rel=\"noopener\">Museum in Linz<\/a> through his agent, <a href=\"https:\/\/en.wikipedia.org\/wiki\/Hans_Posse\" target=\"_blank\" rel=\"noopener\">Hans Posse<\/a> at a price of 1.82 million <a class=\"mw-redirect\" title=\"German reichsmark\" href=\"https:\/\/en.wikipedia.org\/wiki\/German_reichsmark\">Reichsmark<\/a>.<sup class='footnote'><a href='#fn-1433-37' id='fnref-1433-37' onclick='return fdfootnote_show(1433)'>37<\/a><\/sup> At the end of World War II, the painting was recovered from a salt mine <\/span>near <a title=\"Altaussee\" href=\"https:\/\/en.wikipedia.org\/wiki\/Altaussee\">Altaussee<\/a>, where it had been hidden\u2014along with other works of art\u2014to protect it from Allied bombing raids. In 1946, the painting was returned to the Austrian government by the Americans, as the <a title=\"House of Czernin\" href=\"https:\/\/en.wikipedia.org\/wiki\/House_of_Czernin\">Czernin family<\/a> was deemed to have sold it voluntarily, without coercion from Hitler. It was transported to Vienna from the <a href=\"https:\/\/en.wikipedia.org\/wiki\/Munich_Central_Collecting_Point\" target=\"_blank\" rel=\"noopener\"><span class=\"mw-page-title-main\">Munich Central Collecting Point&nbsp;<\/span><\/a>by Andrew Ritchie, head of the <a title=\"Monuments, Fine Arts, and Archives program\" href=\"https:\/\/en.wikipedia.org\/wiki\/Monuments,_Fine_Arts,_and_Archives_program\">Monuments, Fine Arts, and Archives program<\/a> (MFA&amp;A) for Austria, who locking himself and the painting in a train compartment during the journey.<sup class='footnote'><a href='#fn-1433-38' id='fnref-1433-38' onclick='return fdfootnote_show(1433)'>38<\/a><\/sup> <\/span><\/p>\n<\/div>\n<h3><span style=\"font-family: Bitter, Georgia, serif; font-size: 22px; color: #141412;\">Request by the heirs for restitution<\/span><\/h3>\n<figure style=\"width: 279px\" class=\"wp-caption alignleft\"><a class=\"image\" href=\"https:\/\/en.wikipedia.org\/wiki\/File:The_Art_of_Painting.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/1\/17\/The_Art_of_Painting.jpg\/200px-The_Art_of_Painting.jpg\" alt=\"The Art of Painting.jpg\" width=\"279\" height=\"210\" data-file-width=\"1600\" data-file-height=\"1200\"><\/a><figcaption class=\"wp-caption-text\"><a href=\"http:\/\/smarthistory.khanacademy.org\/vermeers-the-art-of-painting.html\">Johannes Vermeer&#8217;s &#8221;The Art of Painting&#8221;], (4:55), [Smarthistory]<\/a><\/figcaption><\/figure>\n<p data-start=\"64\" data-end=\"366\">In November 1945, Count Jaromir Czernin requested the return of the painting, claiming he had been forced to sell it to Hitler. Three court cases, the last in 1960, rejected his claims. The 1998 <a href=\"https:\/\/en.wikipedia.org\/wiki\/Washington_Principles_on_Nazi-Confiscated_Art\" target=\"_blank\" rel=\"noopener\">Washington Declaration<\/a> led to a renewed review, and in September 2009, the heirs submitted another request.<\/p>\n<p data-start=\"368\" data-end=\"663\">In March 2011, the restitution commission unanimously decided not to recommend returning the painting. They concluded that the sale was voluntary and that Hitler did not actively pursue acquiring the work. There was no evidence of political coercion or antisemitic pressure influencing the sale.<sup class='footnote'><a href='#fn-1433-39' id='fnref-1433-39' onclick='return fdfootnote_show(1433)'>39<\/a><\/sup>&nbsp;<\/a><sup class='footnote'><a href='#fn-1433-40' id='fnref-1433-40' onclick='return fdfootnote_show(1433)'>40<\/a><\/sup><\/span><\/p>\n<h3><span id=\"References\" class=\"mw-headline\">References<\/span><\/h3>\n<\/div>\n<div class='footnotes' id='footnotes-1433'>\n<div class='footnotedivider'><\/div>\n<ol>\n<li id='fn-1433-1'> <span class=\"reference-text\">Svetlana Alpers (1983) The Art of Description. Dutch Art in the Seventeenth Century, p. 119 <span class='footnotereverse'><a href='#fnref-1433-1'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-2'> <span class=\"reference-text\"><span class=\"citation book\"><a title=\"Walter Liedtke\" href=\"https:\/\/en.wikipedia.org\/wiki\/Walter_Liedtke\">Liedtke, Walter<\/a>&nbsp;(2007).&nbsp;<i>Dutch paintings in the Metropolitan Museum of Art<\/i>. New York: Metropolitan Museum of Art. p.&nbsp;893.&nbsp;<a title=\"International Standard Book Number\" href=\"https:\/\/en.wikipedia.org\/wiki\/International_Standard_Book_Number\">ISBN<\/a>&nbsp;<a title=\"Special:BookSources\/0-300-12028-1\" href=\"https:\/\/en.wikipedia.org\/wiki\/Special:BookSources\/0-300-12028-1\">0-300-12028-1<\/a> <span class='footnotereverse'><a href='#fnref-1433-2'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-3'> <span class=\"reference-text\">A. Blankert (1978) Vermeer of Delft, p. 47-49. Oxford: Phaidon <span class='footnotereverse'><a href='#fnref-1433-3'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-4'> Stokstad, Marilyn (1995). <i>Art History<\/i>. New York, NY: Harry N. Abrams, Inc., Publishers. p.&nbsp;797.&nbsp;<a title=\"International Standard Book Number\" href=\"https:\/\/en.wikipedia.org\/wiki\/International_Standard_Book_Number\">ISBN<\/a>&nbsp;<a title=\"Special:BookSources\/0810927764\" href=\"https:\/\/en.wikipedia.org\/wiki\/Special:BookSources\/0810927764\">0810927764<\/a> <span class='footnotereverse'><a href='#fnref-1433-4'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-5'> <a class=\"external text\" href=\"http:\/\/books.google.nl\/books?id=EZxWaNlQKiYC&amp;lpg=PA398&amp;ots=0QFW7Eysuw&amp;dq=Gerard%20van%20Swieten%20Vermeer&amp;hl=nl&amp;pg=PA396#v=onepage&amp;q=Gerard%20van%20Swieten%20Vermeer&amp;f=false\" rel=\"nofollow\">Vermeer and the Delft School, p. 396 <span class='footnotereverse'><a href='#fnref-1433-5'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-6'> S. Alpers, p. 122 <span class='footnotereverse'><a href='#fnref-1433-6'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-7'> <a class=\"external text\" href=\"http:\/\/www.khm.at\/en\/visit\/exhibitions\/2010\/vermeer-the-art-of-painting\/\" rel=\"nofollow\">KHM on the \u201cArt of Painting\u201d <span class='footnotereverse'><a href='#fnref-1433-7'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-8'> Vermeer\u2019s Family Secrets: Genius, Discovery, and the Unknown Apprentice by Benjamin Binstock, p. 172.<a class=\"external autonumber\" href=\"http:\/\/books.google.nl\/books?id=Nzj0wbU_GT8C&amp;lpg=PR1&amp;dq=Benjamin%20Binstock%22&amp;hl=nl&amp;pg=PA172#v=onepage&amp;q=%22Art%20of%20Painting%22&amp;f=false\" rel=\"nofollow\">(1)<\/a> <span class='footnotereverse'><a href='#fnref-1433-8'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-9'> <span class=\"reference-text\"><a class=\"external text\" href=\"http:\/\/cartography.geo.uu.nl\/research\/mcn6.htm\" rel=\"nofollow\">Monumenta Cartographica Neerlandica Vol. VI<\/a><\/span> <span class='footnotereverse'><a href='#fnref-1433-9'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-10'> <span class=\"reference-text\">Brussel, Luxemburg, Gent, Bergen (Henegouwen), Amsterdam, Namen, Leeuwarden, Utrecht, Zutphen en het Hof van Holland in Den Haag; en rechts Limburg, Nijmegen, Arras, Dordrecht, Middelburg, Antwerpen, Mechelen, Deventer, Groningen en het Hof van Brabant in Brussel. <span class='footnotereverse'><a href='#fnref-1433-10'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-11'> <span class=\"reference-text\">S. Alpers, p. 126 <span class='footnotereverse'><a href='#fnref-1433-11'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-12'> <span class=\"reference-text\">S. Alpers, p. 120 <span class='footnotereverse'><a href='#fnref-1433-12'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-13'> <\/span><span class=\"reference-text\"><a class=\"external text\" href=\"http:\/\/cartography.geo.uu.nl\/research\/monumenta.html\" rel=\"nofollow\">Monumenta Cartographica Neerlandica I (1986)<\/a> <span class='footnotereverse'><a href='#fnref-1433-13'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-14'> Essential Vermeer <a class=\"external autonumber\" href=\"http:\/\/www.essentialvermeer.com\/catalogue\/art_of_painting.html#.U7dG3bG0NgE\" rel=\"nofollow\">(2)<\/a> <span class='footnotereverse'><a href='#fnref-1433-14'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-15'> An X-ray of the painting revealed a small hole at that spot, now hidden under the paint. Vermeer inserted a pin there to stretch thread and mark auxiliary lines with chalk. <span class='footnotereverse'><a href='#fnref-1433-15'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-16'> K.G. Hulten (1949) \u2018Zu Vermeers Atelierbild\u2019, In: Konsthistorisk Tidskrift, 18, p. 92 <span class='footnotereverse'><a href='#fnref-1433-16'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-17'> <a class=\"external text\" href=\"https:\/\/archive.org\/stream\/iconologiaormora00ripa#page\/76\/mode\/2up\" rel=\"nofollow\">Iconologia, or, Moral emblems<\/a> <span class='footnotereverse'><a href='#fnref-1433-17'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-18'><span class=\"reference-text\"><a class=\"external text\" href=\"http:\/\/books.google.nl\/books?id=ocsQcOQLh5MC&amp;dq=Cesare%20Ripa&amp;hl=nl&amp;pg=PA427#v=snippet&amp;q=Clio&amp;f=false\" rel=\"nofollow\">Iconologia di Cesare Ripa \u2026: divisa in tre libri, ne i quali si esprimono \u2026 by Cesare Ripa<\/a> <span class='footnotereverse'><a href='#fnref-1433-18'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-19'> <\/span><span class=\"reference-text\">Clio <a class=\"external autonumber\" href=\"http:\/\/www.dbnl.org\/tekst\/pers001cesa01_01\/pers001cesa01_01_0648.php?q=\" rel=\"nofollow\">(4)<\/a><\/span> <span class='footnotereverse'><a href='#fnref-1433-19'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-20'> Iconologia di Cesare Ripa, p. 269.<a class=\"external autonumber\" href=\"http:\/\/books.google.nl\/books?id=ocsQcOQLh5MC&amp;dq=Cesare%20Ripa&amp;hl=nl&amp;pg=PA269#v=onepage&amp;q=Historia&amp;f=false\" rel=\"nofollow\">(5)<\/a>  <span class='footnotereverse'><a href='#fnref-1433-20'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-21'> <a class=\"external text\" href=\"http:\/\/www.dbnl.org\/tekst\/lair001groo01_01\/downloads.php\" rel=\"nofollow\">Groot-Schilderboek (1712), p. 4, 6, 115, 121, 293<\/a> <span class='footnotereverse'><a href='#fnref-1433-21'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-22'> Weber, Gregor J.M. (1991) Der Lobtopos des \u2018lebenden\u2019 Bildes: Jan Vos und sein \u201cZeege der Schilderkunst\u201d von 1654, p. 61. <a class=\"internal mw-magiclink-isbn\" href=\"https:\/\/en.wikipedia.org\/wiki\/Special:BookSources\/3487096048\">ISBN 3-487-09604-8<\/a> <span class='footnotereverse'><a href='#fnref-1433-22'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-23'> <span class=\"reference-text\"><a class=\"external text\" href=\"http:\/\/books.google.nl\/books?id=ocsQcOQLh5MC&amp;dq=Cesare%20Ripa&amp;pg=PA491#v=onepage&amp;q=Poesia&amp;f=false\" rel=\"nofollow\">Iconologia di Cesare Ripa \u2026: divisa in tre libri, ne i quali si esprimono \u2026 by Cesare Ripa<\/a><\/span> <span class='footnotereverse'><a href='#fnref-1433-23'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-24'> Groot-Schilderboek, Aantekeningen over &#8216;t Leven van Gerard de Lairesse, z.p. <span class='footnotereverse'><a href='#fnref-1433-24'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-25'> <a style=\"color: #003300;\" href=\"https:\/\/www.dbnl.org\/tekst\/hoog006inle01_01\/hoog006inle01_01_0031.php\" target=\"_blank\" rel=\"noopener\">Inleyding tot de hooge schoole der schilderkonst: anders de zichtbaere werelt (1678)\u2013Samuel van Hoogstraten<\/a> <span class='footnotereverse'><a href='#fnref-1433-25'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-26'> Schr\u00f6ter, Jens (2006): <em data-start=\"778\" data-end=\"862\">Das Malen des Malens. Zur Selbstthematisierung der Malerei von Vermeer bis Pollock<\/em>, in: <a class=\"\" href=\"http:\/\/www.theorie-der-medien.de\" target=\"_new\" rel=\"noopener\" data-start=\"868\" data-end=\"893\">www.theorie-der-medien.de<\/a>, Nr. 36. <a class=\"\" href=\"https:\/\/www.theorie-der-medien.de\/text_druck.php?nr=36\" target=\"_new\" rel=\"noopener\" data-start=\"905\" data-end=\"1017\">https:\/\/www.theorie-der-medien.de\/text_druck.php?nr=36<\/a> <span class='footnotereverse'><a href='#fnref-1433-26'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-27'> Michael Thimann, <em data-start=\"1210\" data-end=\"1306\">\u00dcber die Grenzen von Malerei und Poesie. Eine Allegorie von J.H.W. Tischbein aus dem Jahr 1783<\/em>, in: Kunstchronik 72 (2019), Heft 7, p. 333\u2013340.<br data-start=\"1359\" data-end=\"1362\"><a class=\"\" href=\"https:\/\/archiv.ub.uni-heidelberg.de\/artdok\/7340\/\" target=\"_new\" rel=\"noopener\" data-start=\"1362\" data-end=\"1462\">https:\/\/archiv.ub.uni-heidelberg.de\/artdok\/7340\/<\/a> <span class='footnotereverse'><a href='#fnref-1433-27'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-28'> <a class=\"external text\" href=\"http:\/\/www.nga.gov\/exhibitions\/verm_3.shtm\" rel=\"nofollow\">Vermeer: The Art of Painting, Exhibitions \u2013 NGA<\/a> <span class='footnotereverse'><a href='#fnref-1433-28'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-29'> <span class=\"reference-text\"><a title=\"John Michael Montias\" href=\"https:\/\/en.wikipedia.org\/wiki\/John_Michael_Montias\">Montias, J.M.<\/a>&nbsp;(1989)&nbsp;<i>Vermeer and his Milieu. A Web of Social History<\/i>, p. 338-339.<\/span> <span class='footnotereverse'><a href='#fnref-1433-29'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-30'> <span class=\"reference-text\"><a class=\"external text\" href=\"http:\/\/www.essentialvermeer.com\/references\/provenance.html#.U6U9NLGK4mw\" rel=\"nofollow\">Essential Vermeer<\/a><\/span> <span class='footnotereverse'><a href='#fnref-1433-30'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-31'> <a href=\"http:\/\/alien.mur.at\/rax\/KUN_POL\/KUNST\/VERMEER\/verhist1.html\" target=\"_blank\" rel=\"noopener\">Kunst&amp;Politik &#8211; Vermeer<\/a> <span class='footnotereverse'><a href='#fnref-1433-31'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-32'> <span class=\"reference-text\"><a class=\"external text\" href=\"http:\/\/www.nga.gov\/exhibitions\/verm_6.shtm\" rel=\"nofollow\">U.S. National Gallery<\/a><\/span> <span class='footnotereverse'><a href='#fnref-1433-32'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-33'> <span class=\"reference-text\">Waagen, G.F. \u201cHandbuch der Deutschen und Niederl\u00e4ndischen Malerschulen\u201d. Stuttgart 1862, Bd II, p. 110<\/span> <span class='footnotereverse'><a href='#fnref-1433-33'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-34'> <a href=\"http:\/\/alien.mur.at\/rax\/KUN_POL\/KUNST\/VERMEER\/verbio6.html\" target=\"_blank\" rel=\"noopener\">Kunst&amp;Politik &#8211; Vermeer<\/a> <span class='footnotereverse'><a href='#fnref-1433-34'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-35'> <a href=\"http:\/\/alien.mur.at\/rax\/KUN_POL\/KUNST\/VERMEER\/verhist2.html\" target=\"_blank\" rel=\"noopener\">Kunst &amp; Politik &#8211; Vermeer<\/a> <span class='footnotereverse'><a href='#fnref-1433-35'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-36'> <span class=\"reference-text\"><a class=\"external text\" href=\"http:\/\/schikelgruber.net\/rapebis.html\" rel=\"nofollow\">Hitler and the European Art<\/a> <span class='footnotereverse'><a href='#fnref-1433-36'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-37'> <span class=\"reference-text\"><a class=\"external text\" href=\"http:\/\/www.nga.gov\/exhibitions\/verm_6.shtm\" rel=\"nofollow\">Vermeer: The Art of Painting, The Painting\u2019s Afterlife \u2013 NGA<\/a> <span class='footnotereverse'><a href='#fnref-1433-37'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-38'> <span class=\"reference-text\">Spirydowicz, K. (2010). Rescuing Europe\u2019s Cultural Heritage: The Role of the Allied Monuments Officers in World War II. Archaeology, Cultural Property, and the Military. L. Rush. Woodbridge, The Boydell Press: 15-27 <span class='footnotereverse'><a href='#fnref-1433-38'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-39'> <span class=\"reference-text\"><a class=\"external text\" href=\"http:\/\/www.bloomberg.com\/news\/2011-03-18\/heirs-claim-for-hitler-s-vermeer-painting-is-rejected-by-austrian-panel.html\" rel=\"nofollow\">Heirs\u2019 Claim for Hitler\u2019s Vermeer Rejected by Austrian Panel <span class='footnotereverse'><a href='#fnref-1433-39'>&#8617;<\/a><\/span><\/li>\n<li id='fn-1433-40'> <\/span><span class=\"reference-text\"><a class=\"external text\" href=\"http:\/\/www.khm.at\/en\/visit\/exhibitions\/2010\/vermeer-the-art-of-painting\/on-the-current-state-of-the-discussion-of-the-provenance-of-vermeers-the-art-of-painting\/\" rel=\"nofollow\">KHM<\/a> <span class='footnotereverse'><a href='#fnref-1433-40'>&#8617;<\/a><\/span><\/li>\n<\/ol>\n<\/div>\n<div class=\"pvc_clear\"><\/div>\n<p id=\"pvc_stats_1433\" class=\"pvc_stats all  \" data-element-id=\"1433\" style=\"\"><i class=\"pvc-stats-icon medium\" aria-hidden=\"true\"><svg aria-hidden=\"true\" focusable=\"false\" data-prefix=\"far\" data-icon=\"chart-bar\" role=\"img\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 512 512\" class=\"svg-inline--fa fa-chart-bar fa-w-16 fa-2x\"><path fill=\"currentColor\" d=\"M396.8 352h22.4c6.4 0 12.8-6.4 12.8-12.8V108.8c0-6.4-6.4-12.8-12.8-12.8h-22.4c-6.4 0-12.8 6.4-12.8 12.8v230.4c0 6.4 6.4 12.8 12.8 12.8zm-192 0h22.4c6.4 0 12.8-6.4 12.8-12.8V140.8c0-6.4-6.4-12.8-12.8-12.8h-22.4c-6.4 0-12.8 6.4-12.8 12.8v198.4c0 6.4 6.4 12.8 12.8 12.8zm96 0h22.4c6.4 0 12.8-6.4 12.8-12.8V204.8c0-6.4-6.4-12.8-12.8-12.8h-22.4c-6.4 0-12.8 6.4-12.8 12.8v134.4c0 6.4 6.4 12.8 12.8 12.8zM496 400H48V80c0-8.84-7.16-16-16-16H16C7.16 64 0 71.16 0 80v336c0 17.67 14.33 32 32 32h464c8.84 0 16-7.16 16-16v-16c0-8.84-7.16-16-16-16zm-387.2-48h22.4c6.4 0 12.8-6.4 12.8-12.8v-70.4c0-6.4-6.4-12.8-12.8-12.8h-22.4c-6.4 0-12.8 6.4-12.8 12.8v70.4c0 6.4 6.4 12.8 12.8 12.8z\" class=\"\"><\/path><\/svg><\/i> <img loading=\"lazy\" decoding=\"async\" width=\"16\" height=\"16\" alt=\"Loading\" src=\"https:\/\/tacotichelaar.nl\/wordpress\/wp-content\/plugins\/page-views-count\/ajax-loader-2x.gif\" border=0 \/><\/p>\n<div class=\"pvc_clear\"><\/div>\n","protected":false},"excerpt":{"rendered":"<p>The Art of Painting, also known as The Allegory of Painting, or the Painter in His Studio, is a 17th-century oil-on-canvas painting by Dutch painter Johannes Vermeer. Many art historians interpret the scene as an allegory of the art of painting itself, which explains the alternative title. After Christ in the House of Martha and &hellip; <a href=\"https:\/\/tacotichelaar.nl\/wordpress\/schilders-en-schilderijen\/vermeer-the-art-of-painting\/\" class=\"more-link\">Lees verder <span class=\"screen-reader-text\">The Art of Painting by Johannes Vermeer<\/span> <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n<div class=\"pvc_clear\"><\/div>\n<p id=\"pvc_stats_1433\" class=\"pvc_stats all  \" data-element-id=\"1433\" style=\"\"><i class=\"pvc-stats-icon medium\" aria-hidden=\"true\"><svg aria-hidden=\"true\" focusable=\"false\" data-prefix=\"far\" data-icon=\"chart-bar\" role=\"img\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 512 512\" class=\"svg-inline--fa fa-chart-bar fa-w-16 fa-2x\"><path fill=\"currentColor\" d=\"M396.8 352h22.4c6.4 0 12.8-6.4 12.8-12.8V108.8c0-6.4-6.4-12.8-12.8-12.8h-22.4c-6.4 0-12.8 6.4-12.8 12.8v230.4c0 6.4 6.4 12.8 12.8 12.8zm-192 0h22.4c6.4 0 12.8-6.4 12.8-12.8V140.8c0-6.4-6.4-12.8-12.8-12.8h-22.4c-6.4 0-12.8 6.4-12.8 12.8v198.4c0 6.4 6.4 12.8 12.8 12.8zm96 0h22.4c6.4 0 12.8-6.4 12.8-12.8V204.8c0-6.4-6.4-12.8-12.8-12.8h-22.4c-6.4 0-12.8 6.4-12.8 12.8v134.4c0 6.4 6.4 12.8 12.8 12.8zM496 400H48V80c0-8.84-7.16-16-16-16H16C7.16 64 0 71.16 0 80v336c0 17.67 14.33 32 32 32h464c8.84 0 16-7.16 16-16v-16c0-8.84-7.16-16-16-16zm-387.2-48h22.4c6.4 0 12.8-6.4 12.8-12.8v-70.4c0-6.4-6.4-12.8-12.8-12.8h-22.4c-6.4 0-12.8 6.4-12.8 12.8v70.4c0 6.4 6.4 12.8 12.8 12.8z\" class=\"\"><\/path><\/svg><\/i> <img loading=\"lazy\" decoding=\"async\" width=\"16\" height=\"16\" alt=\"Loading\" src=\"https:\/\/tacotichelaar.nl\/wordpress\/wp-content\/plugins\/page-views-count\/ajax-loader-2x.gif\" border=0 \/><\/p>\n<div class=\"pvc_clear\"><\/div>\n","protected":false},"author":1,"featured_media":0,"parent":2316,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-1433","page","type-page","status-publish","hentry"],"acf":[],"a3_pvc":{"activated":true,"total_views":3851,"today_views":0},"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.3 (Yoast SEO v27.4) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>The Art of Painting by Johannes Vermeer - Taco Tichelaar<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/tacotichelaar.nl\/wordpress\/schilders-en-schilderijen\/vermeer-the-art-of-painting\/\" \/>\n<meta property=\"og:locale\" content=\"nl_NL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Art of Painting by Johannes Vermeer\" \/>\n<meta property=\"og:description\" content=\"The Art of Painting, also known as The Allegory of Painting, or the Painter in His Studio, is a 17th-century oil-on-canvas painting by Dutch painter Johannes Vermeer. 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