Johannes Vermeer (Dutch, 1632–1675)
The Milkmaid, about 1657–58
Oil on canvas; 17 7/8 x 16 1/8 in. (45.5 x 41 cm)
Rijksmuseum, Amsterdam, Purchase, 1908, with aid from the Rembrandt Society
This morning we made our annual pilgrimage to see the Angel Tree at the Metropolitan Museum. Again, we took no photos. But we still noted the variations in the figures. CZ never seems to get too old for the Angel Tree or the Nutcracker, which we'll go see tomorrow night. They are her childhood Advent memories.
We were also there because Bob wanted a chance to see Vermeer's The Milkmaid, on loan from the Rijksmuseum. CZ and I had been to the exhibit before, but you can never go too many times, because it's always crowded and you only get a glimpse of the small, intimate painting. I am always struck by how clear and vibrant the color is in the painting compared to its reproductions, so I look mainly at the color and luminosity when I go. Everyone else, it seems, is looking for the tile with Cupid on it, which I guess explains why someone's head is always six inches from the painting. I think the next time they create an audio guide, they ought to talk about some esoteric effect that can only be seen from ten feet back.
;-)
After Vermeer and the Angel Tree, we wandered around way upstairs in the Early American section, to escape the crowds. I hadn't thought about it beforehand, but when CZ and I were standing in the Wentworth Room, I noticed some similarities between the furnishings in the room and those in the Vermeer paintings downstairs. "Hey, do you notice anything in particular about these furnishings?" I commented to CZ. (I was trying not to be too obvious, because sometimes she thinks I am.)
"No," she responded.
"The furnishings are like those in the Vermeer paintings," I pointed out, again trying not to be too didactic. "Like the rug on the table. And the tankard on the mantlepiece..."
"And the Splenda packet on the floor," she added.
I looked down, and there was indeed an used Splenda packet just on the other side of the railing. I remember reading somewhere that this was where E.L. Konigsburg got the idea to write The Mixed Up Files of Mrs. Basil E. Frankweiler. She and her sons were in one of the rococo rooms on the first floor and saw a piece of popcorn in a chair...
4 comments:
I'm jealous that you get to go to such a fabulous art museum any time you want. I'd love to see a Vermeer...any Vermeer. Thanks for the lovely picture of it. He's one of my favorite artists.
Drooling....
I know I've seen it before ... but like you mentioned, I never tire of regarding such style over and over.
Blessings fm GA!
Love your audio guide idea! :-) I would give just about anything to see this. At the NGA in Washington DC, I always went straight to the Vermeer room first and stared at those little paintings. There was no competition there, but it wasn't a special exhibit. Anyway, lucky you!
I loved CZ's remark, too! I remember you telling us the Konigsburg story when we were at the museum with you. :-)
Gosh, I hope for a quick return to an atmosphere-conducive-to-blogging because I'll miss your posts if you're gone for long!
Susan
Debbie, I can relate to what you're saying, because I grew up in Georgia, and I can remember thinking that all those masterworks were inaccessible to me. And I can remember going to Washington, DC for the first time at 13 and getting all excited to see some of the paintings that I had long admired in the World Book Encyclopedia! (My, things have changed!)
Well, if you ever find yourself up here, contact me through the Saulses and I'll be happy to give you a tour of the museum. It would be fun to go with another artist.
Dana, I have always liked you avatar, because not only to I like Vermeer, I am a big Bouguereau fan, too.
Susan, I'm glad my little audio-guide comment didn't come across as too snarky. I briefly considered deleting it, but it kept giving me the giggles, so I left it in ;-). And as you know, hopefully we'll see the DC Vermeers again soon, too! (It's always way more fun to see these paintings when they're not in a special exhibit, if possible.)
And have you ever known me to be quiet for *very* long?
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