The Story of Dutch PaintingCaffin, Charles H. (Charles Henry)
History
The Story of Dutch Painting
Caffin, Charles H. (Charles Henry)
Painting, Dutch
The earliest of his dated pictures is _The Proposal_, in the Dresden
Gallery, which belongs to the year 1656. The figures are of life size,
and the treatment is proportionately broad, almost “rough” as Bode says,
who adds: “It does not yet show us Vermeer in his developed
individuality.” Yet some elements of the latter are already established:
the superb plasticity in the modeling of the forms and the frank
enjoyment in local colors, the lemon yellow of the girl’s jacket forming
a splendid spot
[Illustration: HEAD OF A GIRL JOHANNES (JAN) VERMEER
HAGUE GALLERY]
against the equally brilliant scarlet of the young man’s coat. Again, a
minor point, an Oriental rug of crimson and yellow and blue design
appears here as in later pictures, such as the _Girl with Water-Jug_ of
the Metropolitan Museum. But the Dresden masterpiece of the artist’s
youth--he was only twenty-four--differs from his later work not only in
the size of the figures and breadth of brushwork, but also in the
treatment of the chiaroscuro. The scene is not illumined with diffused
light, but with a stroke of light which gives brilliance to the two
principal figures and leaves the subordinate ones in shadow. It is an
arrangement, suggestive of the example of Rembrandt, and hints at the
fact that the picture was produced while Vermeer was still close to the
influence of his teacher, Carel Fabritius.
Another early example, betraying the same influence, is _Diana at Her
Toilet_ of the Hague Gallery, which in the 1905 edition of the Catalogue
is still assigned to Vermeer of Utrecht, though later criticism accepts
it as by the artist of Delft. Closely following in subject a _Diana and
Her Nymphs_, painted by Jacob van Loo in 1648, which is now in the
Berlin Gallery, this picture is in the freer, looser method of _The
Proposal_, and even repeats the same colors of red and yellow, though
subtilized here to a delicate rose and a kind of snuff color. The light
is still partially distributed so as to dapple the figures, and these
are painted with a flickering brushstroke that helps to increase the
fluttering effect of the light.
Public-domain text, read in full here on John Shaqi.
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