| Vermeer
and the Jews
Johannes
Vermeer (1632-1675), one of the great masters
of the Golden Age of Dutch painting, had nothing
to do with the Jews. At least not directly. But
I think that his work, shown here at the Metropolitan
Museum of Art in the historical context of the
Delft School, actually has a considerable Jewish
content that, once discovered, will be seen to
be at the core of his creative process.
This
exhibition at the Metropolitan, Vermeer and the
Delft School, presents fifteen of the 34 surviving
paintings of Vermeer in the overall context of
many contemporary artists including the celebrated
Pieter de Hooch, Carel Fabritius and Emanuel de
Witte. Through this approach we are able to see
that Vermeer’s work reflected the contemporary
artistic interests in light, well defined interior
spaces and domestic scenes. We can also see how
he took this framework and explored totally unique
artistic territory.
Initially,
we are introduced to the city of Delft through
panoramic views of the city, portraits of important
citizens and luxury goods produced there. Delft
was at the time a thriving market center dependent
upon linen manufacture and beer brewing in addition
to ceramic manufacturing of Delftware (distinguished
by its luminous blue designs) and luxury tapestry
weaving. There was a wealthy ruling class that
had generally conservative and sophisticated artistic
tastes.
Further
along in the exhibition we see the kinds of paintings
and objects the good citizens of Delft collected.
Typical for the tastes of the time were mythological
and biblical scenes, floral arrangements, princely
portraits, an anatomy lesson, decorated plates
and paintings of church interiors. The eighteen
paintings of church interiors make this last category
is especially interesting. The predominately Protestant
churches are spare with somber interiors, devoid
of decoration and flooded with a cool peaceful
light. They are depicted inhabited by well-dressed
men, women and even children and dogs. The scenes
are almost never of prayer, but rather plain folk
congregating, talking, visiting or strolling in
what for them was a holy interior landscape. From
these paintings it is clear that the citizens
of Delft, while fully engaged in worldly pursuits
were never far from their faith.
Considering
the predominant religion, there are very few paintings
of Christian subjects. There are shown two expressive
biblical paintings; one of Joseph and Potiphar’s
Wife and another of the Trials of Job, both by
Leonaert Bramer. We also see the Delfware dish
inspired by the depiction of Joseph and Potiphar’s
Wife. Generally we are in a city where religiosity
is finding an interior expression rather than
bombastic expressions of belief that characterize
the Italian Baroque to the south.
This
new sensibility is found in the middle section
of the exhibition, “Private and Public Spaces
in Delft in the 1650’s”. It is precisely this
focus, so familiar to our Jewish worldview, that
draws us into the singular universe of Vermeer’s
paintings. Perhaps the first place to appreciate
this approach is with Vermeer’s deceptively simple
“The Little Street” (1658). It is considered one
of the defining images of Delft and manages to
summon, by virtue of the simplest of compositions,
the glorification of the simple Dutch home. We
“enter” the painting in the lower left and are
immediately confined to the street that forms
a solid band across the bottom of the picture.
Rising above the street is an equally formidable
blockade of house façade and walled alleyways.
The only entrance is either through the open doorway
into the alley or the main door of the house.
In each of these entrances (understand the metaphorical
power of these gateways) we find a woman. One,
deep in the alley leading to an interior courtyard,
is occupied with cleaning. And the woman in the
main doorway sits calmly sewing. Once we have
“entered” this house, via these good Delft women,
we can imagine the rooms inside, flooded with
light from the multiple windows and open shutters.
We now can ascend up the stately façade that dominates
the upper right half of the painting to reach
the top of the painting only challenged by the
heavenly sky on the left.
This
painting owes considerable debt to another famous
painting in the show by Pieter de Hooch (1629-1684),
“The Courtyard of a House in Delft” (1658). This
painting is even more explicit in its evocation
of the perennial Dutch themes of household, duty
and feminine virtue. The mother and daughter are
busy with chores in the courtyard while another
woman of the household is subtly framed at the
entranceway to the street beyond. Comforting domestic
activity within co-exists with an awareness of
the outside world.
“Young
Woman with a Water Pitcher” draws us deeper into
Vermeer’s unique vision of the world. Again, a
simple composition belies an amazing confluence
of worlds. She stands caught in mid-action of
opening the window, and yet serenely pensive since
her gaze is not out the open window, but rather
inside the room. She grasps the water pitcher
seated in the basin, a symbol of purity in a moment
of her private life. And yet she is hardly cloistered
at home. While the open window allows for an exchange
with the outside world it is the unobtrusive map,
dominating almost the entire upper right quadrant
of the painting that shifts the mental venue of
the painting from a domestic to a worldly universe.
The map is almost certainly of Holland and its
shoreline; the world of commerce, politics and
power. Vermeer’s vision of these worlds is not
of conflict and contrast. Rather he conceives
of his universe as unified and whole.
“Woman
with a Balance” (1664) is perhaps even more obvious
in Vermeer’s obsession with creating scenes in
which the activities of the daily outside world
coincide with a private feminine life. This painting
takes this notion even further. She is holding
a balance, but not weighing anything. She is,
in her pensive and calm manner, making sure the
balance is true. Jewels and gold are before her
and she contemplates temperance and balanced judgment.
The painting on the wall behind her depicts a
last judgment.
It
is important to understand just how singular Vermeer
was as an artist. Eight of the fifteen paintings
shown here are of women occupied in interiors
of houses. Vermeer emerges in this exhibition
as the painter of the interior landscapes of women.
I know of no other painter so focused on the sensitivity
and introspection that we associate with the feminine
joined, in painting after painting, with the active
life outside the home. Interestingly, this artist,
who died at the age of 43, found consistent patrons
for his work. He produced only two to three paintings
a year, all of which were sold for considerable
sums that was demanded to support his large family
(including eight daughters). Therefore his work,
while singular, was not idiosyncratic since he
was able to find a patron who, one might assume,
shared his point of view.
And
the Jewish idea? Our belief that the entire world
is ruled by one God, inhabited by a mankind commanded
with mitzvahs whether in the private or public
realm and founded upon the virtues of a stable
home, temperance and balanced judgment was clearly
shared, at least in spirit, by the Johannes Vermeer.
If he was ever invited to a Jewish home in Delft
Jewish community and happened upon the beginning
of the Shabbos meal, surely a smile of recognition
and approval would cross this great artist’s face
upon hearing in Aishes Chayil (Proverbs 31:10-31);
“An accomplished woman, who can find? Far beyond
pearls is her value.”
Vermeer
and the Delft School The Metropolitan Museum of
Art Fifth Avenue and 82nd Street, New York; (212)
535 7710 Fridays 9:30am- 9:00pm Sunday, Tues-Thurs.
9:30am - 5:30pm Suggested Admission; Adults $10,
Seniors & Students $5, Children under 12 Free.
Richard
McBee
April 2, 2001 |
| |
The
Little Street (1658) Oil on canvas by Johannes
Vermeer The Metropolitan Museum of Art, New
York Lent by Rijksmuseum, Amsterdam
The Courtyard of a House in Delft (1658) Oil
on canvas by Pieter de Hooch The Metropolitan
Museum of Art, New York Lent by The National
Gallery, London
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