Mistress And Maid
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Mistress And Maid
''Mistress and Maid'' (Dutch: ''Dame en dienstbode'') is an oil-on-canvas painting produced by Johannes Vermeer c. 1667. It portrays two women, a mistress and her maid, as they look over the mistress' love letter. The painting displays Vermeer's preference for yellow and blue, female models, and domestic scenes. It is now in the Frick Collection in New York City. Artist Johannes Vermeer was born in 1632 in Delft, Holland. He worked and lived in Delft all his life, although it is possible that he may have done an apprenticeship in another town such as Amsterdam or Utrecht for six years. A major stepping point in Vermeer's career was in 1653 when he joined the Guild of Saint Luke as a master and professional painter. Vermeer painted at a somewhat leisurely pace, producing two to three paintings a year; there are 35 known to exist today. Vermeer is thought to have made use of a camera obscura, which may have influenced the way he often painted highlights as unfocused circles o ...
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Vermeer Lady Maidservant Holding Letter
Johannes Vermeer ( , , see below; also known as Jan Vermeer; October 1632 – 15 December 1675) was a Dutch Baroque Period painter who specialized in domestic interior scenes of middle-class life. During his lifetime, he was a moderately successful provincial genre painter, recognized in Delft and The Hague. Nonetheless, he produced relatively few paintings and evidently was not wealthy, leaving his wife and children in debt at his death. Vermeer worked slowly and with great care, and frequently used very expensive pigments. He is particularly renowned for his masterly treatment and use of light in his work. "Almost all his paintings", Hans Koningsberger wrote, "are apparently set in two smallish rooms in his house in Delft; they show the same furniture and decorations in various arrangements and they often portray the same people, mostly women." His modest celebrity gave way to obscurity after his death. He was barely mentioned in Arnold Houbraken's major source book on 17th ...
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Portrait Of A Young Woman (Vermeer, New York)
''Study of a Young Woman'' (also known as ''Portrait of a Young Woman'', or ''Girl with a Veil'') is a painting by the Dutch artist Johannes Vermeer, completed between 1665 and 1667, and now in the Metropolitan Museum of Art, New York. The painting was painted around the same time as the better-known '' Girl with a Pearl Earring'', and has a near-identical size. Because of this, and its proximity in tone and composition, it is sometimes considered to be either a variant or pendant painting (counterpart) of ''Girl with a Pearl Earring''. The subjects of both paintings wear pearl earrings, have scarves draped over their shoulders, and are shown in front of a plain black background. In addition, it has been suggested (though this has also been widely contested) that the creation of both works involved the use of some optical device, such as a camera obscura or mirror, as the Hockney–Falco thesis speculates. Description The sitter is depicted as having a homely face—widely spaced ...
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1660s Paintings
Year 166 ( CLXVI) was a common year starting on Tuesday (link will display the full calendar) of the Julian calendar. At the time, it was known as the Year of the Consulship of Pudens and Pollio (or, less frequently, year 919 '' Ab urbe condita''). The denomination 166 for this year has been used since the early medieval period, when the Anno Domini calendar era became the prevalent method in Europe for naming years. Events By place Roman Empire * Dacia is invaded by barbarians. * Conflict erupts on the Danube frontier between Rome and the Germanic tribe of the Marcomanni. * Emperor Marcus Aurelius appoints his sons Commodus and Marcus Annius Verus as co-rulers (Caesar), while he and Lucius Verus travel to Germany. * End of the war with Parthia: The Parthians leave Armenia and eastern Mesopotamia, which both become Roman protectorates. * A plague (possibly small pox) comes from the East and spreads throughout the Roman Empire, lasting for roughly twenty years. * ...
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Genre Paintings By Johannes Vermeer
Genre () is any form or type of communication in any mode (written, spoken, digital, artistic, etc.) with socially-agreed-upon conventions developed over time. In popular usage, it normally describes a category of literature, music, or other forms of art or entertainment, whether written or spoken, audio or visual, based on some set of stylistic criteria, yet genres can be aesthetic, rhetorical, communicative, or functional. Genres form by conventions that change over time as cultures invent new genres and discontinue the use of old ones. Often, works fit into multiple genres by way of borrowing and recombining these conventions. Stand-alone texts, works, or pieces of communication may have individual styles, but genres are amalgams of these texts based on agreed-upon or socially inferred conventions. Some genres may have rigid, strictly adhered-to guidelines, while others may show great flexibility. Genre began as an absolute classification system for ancient Greek literature, a ...
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Paintings In The Frick Collection
Painting is the practice of applying paint, pigment, color or other medium to a solid surface (called the "matrix" or "support"). The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and airbrushes, can be used. In art, the term ''painting ''describes both the act and the result of the action (the final work is called "a painting"). The support for paintings includes such surfaces as walls, paper, canvas, wood, glass, lacquer, pottery, leaf, copper and concrete, and the painting may incorporate multiple other materials, including sand, clay, paper, plaster, gold leaf, and even whole objects. Painting is an important form in the visual arts, bringing in elements such as drawing, composition, gesture (as in gestural painting), narration (as in narrative art), and abstraction (as in abstract art). Paintings can be naturalistic and representational (as in still life and landscape painting), photographic, abstract, narrative, s ...
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Metropolitan Museum Of Art
The Metropolitan Museum of Art of New York City, colloquially "the Met", is the largest art museum in the Americas. Its permanent collection contains over two million works, divided among 17 curatorial departments. The main building at 1000 Fifth Avenue, along the Museum Mile on the eastern edge of Central Park on Manhattan's Upper East Side, is by area one of the world's largest art museums. The first portion of the approximately building was built in 1880. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains an extensive collection of art, architecture, and artifacts from medieval Europe. The Metropolitan Museum of Art was founded in 1870 with its mission to bring art and art education to the American people. The museum's permanent collection consists of works of art from classical antiquity and ancient Egypt, paintings, and sculptures from nearly all the European masters, and an extensive collection of American and modern ...
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Portrait Of A Young Woman (Vermeer)
''Study of a Young Woman'' (also known as ''Portrait of a Young Woman'', or ''Girl with a Veil'') is a painting by the Dutch artist Johannes Vermeer, completed between 1665 and 1667, and now in the Metropolitan Museum of Art, New York. The painting was painted around the same time as the better-known '' Girl with a Pearl Earring'', and has a near-identical size. Because of this, and its proximity in tone and composition, it is sometimes considered to be either a variant or pendant painting (counterpart) of ''Girl with a Pearl Earring''. The subjects of both paintings wear pearl earrings, have scarves draped over their shoulders, and are shown in front of a plain black background. In addition, it has been suggested (though this has also been widely contested) that the creation of both works involved the use of some optical device, such as a camera obscura or mirror, as the Hockney–Falco thesis speculates. Description The sitter is depicted as having a homely face—widely spaced ...
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Lead-tin-yellow
Lead-tin-yellow is a yellow pigment, of historical importance in oil painting, sometimes called the "Yellow of the Old Masters" because of the frequency with which it was used by those famous painters. Nomenclature The name lead-tin yellow is a modern label. During the thirteenth to eighteenth centuries when it was in widest use, it was known by a variety of names. In Italy, it was ''giallorino'' or ''giallolino''. In other countries of Europe, it was massicot, (Spanish), (German), ''general'' (English) or (Portuguese). All of these names were often applied to other yellow pigments as well as lead-tin yellow. Composition Lead-tin-yellow historically occurred in two varieties. The first and more common one, today known as "Type I", was a lead stannate, an oxide of lead and tin with the chemical formula Pb2SnO4. The second, "Type II", was a silicate with the formula .Hermann Kühn, 1967, "Blei-Zinn-Gelb und seine Verwendung in der Malerei", ''Farbe und Lack'' 73: 938-949 ...
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Johannes Vermeer
Johannes Vermeer ( , , #Pronunciation of name, see below; also known as Jan Vermeer; October 1632 – 15 December 1675) was a Dutch Baroque Period Painting, painter who specialized in domestic interior scenes of middle class, middle-class life. During his lifetime, he was a moderately successful provincial Genre works, genre painter, recognized in Delft and The Hague. Nonetheless, he produced relatively few paintings and evidently was not wealthy, leaving his wife and children in debt at his death. Vermeer worked slowly and with great care, and frequently used very expensive pigments. He is particularly renowned for his masterly treatment and use of light in his work. "Almost all his paintings", Hans Koningsberger wrote, "are apparently set in two smallish rooms in his house in Delft; they show the same furniture and decorations in various arrangements and they often portray the same people, mostly women." His modest celebrity gave way to obscurity after his death. He was bare ...
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Circle Of Confusion
In optics, a circle of confusion (CoC) is an optical spot caused by a cone of light rays from a lens not coming to a perfect focus when imaging a point source. It is also known as disk of confusion, circle of indistinctness, blur circle, or blur spot. In photography, the circle of confusion is used to determine the depth of field, the part of an image that is acceptably sharp. A standard value of CoC is often associated with each image format, but the most appropriate value depends on visual acuity, viewing conditions, and the amount of enlargement. Usages in context include ''maximum permissible circle of confusion'', ''circle of confusion diameter limit'', and the ''circle of confusion criterion''. Real lenses do not focus all rays perfectly, so that even at best focus, a point is imaged as a spot rather than a point. The smallest such spot that a lens can produce is often referred to as the circle of least confusion. Two uses Two important uses of this term and concept n ...
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Camera Obscura
A camera obscura (; ) is a darkened room with a aperture, small hole or lens at one side through which an image is 3D projection, projected onto a wall or table opposite the hole. ''Camera obscura'' can also refer to analogous constructions such as a box or tent in which an exterior image is projected inside. Camera obscuras with a lens in the opening have been used since the second half of the 16th century and became popular as aids for drawing and painting. The concept was developed further into the photographic camera in the first half of the 19th century, when camera obscura boxes were used to exposure (photography), expose photosensitivity, light-sensitive materials to the projected image. The camera obscura was used to study eclipses without the risk of damaging the eyes by looking directly into the sun. As a drawing aid, it allowed tracing the projected image to produce a highly accurate representation, and was especially appreciated as an easy way to achieve proper grap ...
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