![]() ![]() It is the more conservative scholars who apply an anachronistic, premodern paradigm of art as illustrating an institutional (historical) message. As a painter of modern life, Vermeer’s greatness lies in the domestic, familial character of his art. In place of “high” historical or allegorical content, Vermeer characterizes Painting through his playful relation to his model as a particular individual that he knows intimately. In neither case does she take her job very seriously. ![]() These include a blue and yellow “garment of changing color,” likely the same textile artfully wrapped around her head as Vermeer’s Girl With a Pearl Earring, who therefore might also personify Painting. ” The girl personifies Painting, holding attributes associated with Painting, while others are arrayed on the table before her. Scholars have also mistranslated documents in which Vermeer’s widow and mother-in-law described a painting “in which ‘Painting’ is being depicted. But the mature Vermeer did not paint history. ![]() Since 1949, the girl has been called Clio, the muse of history writing, following the conventional notion that history was the highest category of art. ![]()
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