The Dutch microscopist Antonie van Leeuwenhoek, who sometimes worked for the city council, was appointed trustee. The house, with eight rooms on the first floor, was filled with paintings, drawings, clothes, chairs and beds. Vermeer did own three paintings by Fabritius. In his atelier there were among rummage not worthy being itimized, two chairs, two painter's easels, three palettes, ten canvases, a desk, an oak pull table and a small wooden cupboard with drawers.
Nineteen of Vermeer's paintings were bequeathed to his wife and her mother. Catherina sold two more paintings to the baker in order to pay off the debts. In Delft, Vermeer had been a respected artist, but he was almost unknown outside his home town, and the fact that a local patron, van Ruijven, purchased much of his output reduced the possibility of his fame spreading.
Vermeer never had any pupils and his relatively short life, the demands of separate careers, and his extraordinary precision as a painter all help to explain his limited output. Vermeer produced transparent colours by applying paint to the canvas in loosely granular layers, a technique called pointille not to be confused with pointillism. No drawings have been positively attributed to Vermeer, and his paintings offer few clues to preparatory methods. David Hockney, among other historians and advocates of the Hockney-Falco thesis, has speculated that Vermeer used a camera obscura to achieve precise positioning in his compositions, and this view seems to be supported by certain light and perspective effects which would result from the use of such lenses and not the naked eye alone.
The extent of Vermeer's dependence upon the camera obscura is disputed by historians. There is no other seventeenth century artist who early in his career employed, in the most lavish way, the exorbitantly expensive pigment lapis lazuli, or natural ultramarine. Vermeer not only used this in elements that are naturally of this colour; the earth colours umber and ochre should be understood as warm light within a painting's strongly-lit interior, which reflects its multiple colours onto the wall.
This working method most probably was inspired by Vermeer's understanding of Leonardo's observations that the surface of every object partakes of the colour of the adjacent object. This means that no object is ever seen entirely in its natural colour. A comparable but even more remarkable yet effectual use of natural ultramarine is in The Girl with a Wineglass Braunschweig.
The shadows of the red satin dress are underpainted in natural ultramarine, and due to this underlying blue paint layer, the red lake and vermilion mixture applied over it acquires a slightly purple, cool and crisp appearance that is most powerful.
Many believe he may have been self-taught entirely. Luke when he was 21 years old. Around this time, he met a patron who loved and bought most of his artwork.
The patron was Pieter van Ruijven, whose financial support was critical to Vermeer and his family. As Vermeer matured in his artwork, he was elected head of the St. His artwork gained attention within Delft, but did not spread much beyond the city.
During in the Netherlands, there was a severe economic collapse due to the French invasion and the Franco-Dutch war. Due to these events, among other things, Vermeer was forced to borrow money from sources in Amsterdam in the last year of his life. He was clearly struggling to support himself and his large family, and died from frenzy, an old medical term no longer used today which included symptoms such as high fever and sometimes hallucinations.
His wife suggested it had been caused by the tremendous financial pressures, and she was able to use his artwork to help the family pay off some of its debts and was able to appeal to the courts for other debts to be forgiven. He stood apart from other artists by his use of light in the paintings to highlight his subjects in deeply expressive ways. Some experts also believe that Vermeer may have been influenced by the works of Rembrandt through one of Rembrandt's students, Carel Fabritius. The influence of Caravaggio is apparent in Vermeer's early works, including "The Procuress" By the end of the decade, Vermeer's unique style began to emerge.
Many of Vermeer's masterworks focus on domestic scenes, including "The Milkmaid" c. This depiction of a woman in the midst of her work showcases two of his trademarks: his realistic renderings of figures and objects, and his fascination with light. Many of his works have a luminous quality, including the portrait "Girl with a Pearl Earring" Vermeer enjoyed some success in Delft, selling his works to a small number of local collectors.
He also served as head of the local artistic guild for a time. However, Vermeer was not well-known outside of his community during his lifetime. Vermeer struggled financially in his final years, due in large part to the fact that the Dutch economy had suffered terribly after the country was invaded by France in In part because verses written following the death of Carel Fabritius — in mention Vermeer as his successor as Delft's leading artist, it has been suggested that Fabritius was Vermeer's teacher.
Certainly Fabritius helped develop Vermeer's interest in perspective experiments experiments with depth Jan Vermeer. Reproduced by permision of the Bridgeman Art Library. But Fabritius lived in Delft only after , by which time Vermeer would have been well on his way toward the completion of his training.
The warm colors of The Procuress relate it to paintings of the Rembrandt school styled after the painter Rembrandt [—] of the s, but its subject matter and composition reflect influence by paintings of the s by the Utrecht Caravaggists, a group of painters in Utrecht, Netherlands, who stressed a new, international style.
Considered to be earlier than The Procuress are two pictures that resemble it because of the color scheme, dominated by reds and yellows, and because they are larger in size and scale than Vermeer's later works. Christ in the House of Martha and Mary is similar to compositions by Hendrick Terbrugghen — and Gerrit van Honthorst — , who spread the Caravaggesque having to do with the painting style of Italian painter Caravaggio [c.
Diana and Her Companions, Vermeer's only mythological subject, is also suggestive of Italy. It is his only painting of figures in a landscape setting. After these three diverse experiments, which may have owed something to Vermeer's familiarity with works in his father's stock of art, he painted the Girl Asleep at a Table, in which he used the warm range of colors of his other early pictures but in terms of subject matter and composition plunged into the mainstream of current Delft painting.
Vermeer's style just before is also well represented by The Cook. The rich paint surface with its extraordinary quality, the monumental figure perfectly balanced in space and involved in a humble task, and the intense colors dominated by yellow and blue all show Vermeer at the height of his powers.
Following these works, which are assumed to have immediately followed , come the "pearl pictures.
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