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374:(trick of the eye), which would trick the viewer's eye into seeing a three-dimensional view of the street. Van der Poel's painting shows both the Nieuwe Kerk and the Oude Kerk, as well as the chapel of the hospital of St. George. The scene depicts the town after 40,000 kg of gunpowder exploded, killing hundreds of people including Carel Fabritius. Despite the devastation, the two churches still stand. Unlike other paintings of Delft which feature a busy harbour, Vermeer only painted a few boats. Vermeer also painted Delft from the south side instead of the more popular north side, as the south side was the only part of the town where buildings were left untouched by the
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238:. In reality, the Nieuwe Kerk would be positioned more toward the right, but Vermeer depicted it closer to the center to make it more prominent. There are no bells in the tower in this painting as those would not be added to the church until after the painting was completed in 1661. The Nieuwe Kerk was where Vermeer was baptized at one to two weeks old, and where his mother and elder sister were buried. In the background is the top of the tower of the
265:. Without a camera obscura, the light on the lions' heads would be rectangular, as the light would be coming from a window with rectangular panes, but Vermeer has painted the light as circles, an effect that would be created by viewing the image through a lens. Because of the diffused highlights painted on the buildings and in the water, art historian Arthur K. Wheelock, Jr. believes that Vermeer did use a camera obscura to create
461:, published 1923), he lets the writer Bergotte die in front of this painting. Before, Bergotte had taken inspiration from Vermeer's technique: "That's how I ought to have written ... My last books are too dry, I ought to have ... made my language precious in itself, like this little patch of yellow wall ('petit pan de mur jaune')". On 1 May 1921, in a letter to his friend
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was split into two factions – those who supported the House of Orange, and those who supported the States
General. After William II died and the States General assumed power, people who wanted to show support for the House of Orange commissioned artwork of William of Orange's tomb, which was housed in the Nieuwe Kerk. The Niewe Kerk is brightly illuminated in
254:. A camera obscura, meaning "dark chamber," was a closed room with a small hole covered with a convex lens through which light could pass, casting a reverse image onto the wall that the artist could then trace. There is no documentary evidence that Vermeer used a camera obscura, but there are several clues that could point to its usage. In
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argued over whether or not to reduce the country's military budget. William II wanted to keep the soldiers who had fought in the war against the
Spanish in case they decided to attack again, but the States General felt that the country was already in too much debt to afford a military. Dutch society
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for money to buy it. The painting was then sold to the Dutch government in 1822 by S. J. Stinstra of
Amsterdam for 2900 guilders. However, the king had it exhibited in the new Dutch Royal Cabinet of Paintings established at the Mauritshuis in The Hague, and not in Amsterdam as expected. The reasons
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the man appears to be significantly larger than the woman, which could be a result of using a camera obscura. Another piece of evidence pointing to
Vermeer's use of a camera obscura is his detailed maps, which would be very difficult to reproduce without the aid of optical technology. Other artists
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on 16 May 1696 for 200 guilders. This works out to about $ 21,000 in 2024. In the eighteenth century it was owned by merchant Willem Philip Kops. After his death it passed on to his wife, who in turn after her death in 1820 passed it on to her daughter, Johanna Kops, who finally decided to auction
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On the lower left side of the painting, five people are waiting to board a passenger barge to take them to
Rotterdam, Schiedam, or Delfshaven. The passenger barge was pulled by a horse and could hold up to thirty people. Vermeer painted his initials, VM, on the red interior of the barge. To the
219:. It is one of two gates on Delft's south side, the other being the Schiedam Gate, shown in the middle of the composition. There is a bridge between the Rotterdam Gate and the Schiedam Gate, which has a clock on its roof. Behind the Schiedam Gate is a long red-roofed arsenal now known as the
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Van
Ruijven was a native of Delft and only eight years Vermeer's senior. He may have been introduced to Vermeer by his brother, Jan van Ruijven, the notary who documented Vermeer's marriage to Catharina Bolnes. It is known for certain, however, that in 1657 van Ruijven lent Vermeer 200
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The landscape was painted from an elevated position to the southeast of Delft, possibly the upper floor of the
Mechelen tavern where the artist's studio was located. To the very right of the painting is a medieval brick building called the Rotterdam Gate, in front of which are two
410:. He left 500 guilders in his will for Vermeer and specifically worded the document so that Catharina Bolnes would not inherit the money. Vermeer was the only person named in the will who was not part of his or his wife's family. After van Ruijven's death,
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who had just published an article about the painter, Proust reminded him of his mention of
Vermeer in Volume One and described how he felt when he saw the painting for the first time in October 1902:
171:, and his only cityscape. According to art historian Emma Barker, cityscapes across water, which were popular in the Netherlands at the time, celebrated the city and its trade. Vermeer's
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366:(1665). Vroom was most known for his seascapes, which is why his views of Delft focus on the river Schie rather than the buildings of the town. Like Vermeer's painting, Fabritius's
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for this decision are not known. It is assumed that
William I simply liked the painting or that he saw the depiction of the Nieuwe Kerk as a reminder of his ancestors.
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at the time, Johan
Steengracht van Oostcapelle, instructed the minister not to bid on it as it would not fit in the cabinet. On the other hand, the director of the
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Carel fabritius, veduta di delft con banco di venditore di strumenti musicali (Carel Fabritius, view of Delft with vendor counter of musical instruments), 1652
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barge's right are two women talking to each other. Vermeer originally painted a third person next to them, but later changed his mind and painted him out.
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in Paris accompanied by Vaudoyer, and suffered a seizure in front of the painting, which later inspired him to have Bergotte die in front of it.
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Ever since I saw the View of Delft in the museum in The Hague, I have known that I had seen the most beautiful painting in the world.
269:. Other historians are not as convinced. Art historian Karl SchĂĽtz insists that Vermeer never used a camera obscura in any painting.
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features the Nieuwe Kerk. This painting was likely meant to be seen in a perspective box through a peephole as a
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At the end of May 1921, Proust viewed the painting again while visiting an exhibition of Dutch masters at the
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242:("Old Church") which was built around 1246, making it Delft's oldest parish church. Vermeer is buried there.
157:. The painting of the Dutch artist's hometown is among his best known. It is one of three known paintings of
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were known to use a camera obscura for this very purpose. A third piece of evidence is found in
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Vermeer's illumination of the Nieuwe Kerk shows his support (or his patron's support) for the
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453:(published 1913), he lets the hero Swann work on a biography of Vermeer (which he writes out
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greatly admired Vermeer, and particularly this painting. The painting features in his novel
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A photograph taken in 2019 from approximately the point where Vermeer painted the painting.
968:(in German). Gemeinschaftsausgabe Kunstkreis Luzern Buchclub Ex Libris ZĂĽrich. p. 89.
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Pieter Wouwerman - Gezicht op de Paardenmarkt te Delft (View of the Paardenmarkt in Delft)
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In 2011, the painting was featured on gold and silver commemorative coins issued by the
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96.5 cm Ă— 115.7 cm (38.0 in Ă— 45.6 in)
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Liedtke, Walter A. (February 1976). "The 'View in Delft' by Carel Fabritius".
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was inherited by his daughter Magdalena. It was auctioned by her husband
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by Johannes Vermeer, a guided art history tour through this painting
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1069:"New Coins Pay Homage to Dutch Artwork and the Old Dutch Masters"
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Montias, John Michael (1987). "Vermeer's Clients and Patrons".
223:. The buildings are reflected in the calm harbour of the river
995:"Autographed letter from Marcel Proust to Jean-Louis Vaudoyer"
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has been held in the Dutch Royal Cabinet of Paintings at the
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Historians have hotly debated whether or not Vermeer used a
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The Ghost of Vermeer of Delft Which Can Be Used as a Table
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Behind the Rotterdam Gate is the illuminated spire of the
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Arthur K. Wheelock Jr. and C. J. Kaldenbach, "Vermeer’s
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Vermeer and his milieu : a web of social history
397:, a lover of architectural paintings, commissioned
227:, which was colloquially known as the Kolk (pond).
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1049:in the commentary on the French folio edition of
719:"Vermeer's Delft Today: The Oude and Nieuwe Kerk"
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796:Aubrey du Maurier, Louis; Brown, Thomas (1682).
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560:. Princeton, N.J.: Princeton University Press.
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853:"A View of Delft After the Explosion of 1654"
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191:A technical analysis shows that Vermeer used
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798:"The Lives of All the Princes of Orange"
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294:to show support for the Dutch monarchy.
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1777:Landscape paintings by Johannes Vermeer
1302:Girl Reading a Letter at an Open Window
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606:Art, Commerce and Colonialism 1600–1800
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1231:Christ in the House of Martha and Mary
1134:, Vol. 3, No. 6 (1982), pp. 9–35.
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16:1660–1661 painting by Johannes Vermeer
1687:Isabella Stewart Gardner Museum theft
1510:A Young Woman Seated at the Virginals
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748:Steadman, Philip (17 February 2011).
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494:List of paintings by Johannes Vermeer
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1067:Alexander, Michael (15 April 2011).
1478:Lady Writing a Letter with her Maid
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1163:Janson, J., Critical Assessments:
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983:. Waanders Publishers. p. 56.
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717:Janson, Jonathan; Rech, Adelheid.
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256:The Officer and the Laughing Girl,
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1176:at the website of the Mauritshuis
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763:Wheelock, Jr., Arthur K. (1997).
364:View of the horse market in Delft
334:View of Delft from the South-west
330:View of Delft from the North-west
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183:since its establishment in 1822.
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750:"Vermeer and the Camera Obscura"
635:"Johannes Vermeer View of Delft"
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894:"Between the water and the sky"
892:Jones, Jonathan (11 May 2001).
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841:(875): 61–73 – via JSTOR.
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526:. Abbeville Press. p. 40.
352:View of Delft Explosion of 1654
315:View of Delft Explosion of 1654
298:Comparison with other paintings
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608:. Manchester University Press.
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554:Montias, John Michael (1989).
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523:Vermeer and his contemporaries
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1310:Girl Interrupted at Her Music
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929:(1): 68–76 – via JSTOR.
816:"View of Vienne on the Rhone"
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1782:Paintings in the Mauritshuis
1698:All the Vermeers in New York
1318:The Girl with the Wine Glass
1130:and His Vision of Reality",
1105:Vermeer and the Delft School
1016:Townsend, Gabrielle (2008).
520:Slatkes, Leonard J. (1981).
395:Pieter Claeszoon van Ruijven
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1502:Lady Standing at a Virginal
1382:Woman with a Pearl Necklace
1168:, Essential Vermeer website
981:Vermeer: In the Mauritshuis
879:Vermeer: The Complete Works
783:Vermeer: The Complete Works
765:Vermeer: The Complete Works
704:Vermeer: The Complete Works
689:Vermeer: The Complete Works
591:Vermeer: The Complete Works
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1110:Metropolitan Museum of Art
324:Delft was also painted by
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1677:Dutch Golden Age painting
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1623:Girl with a Pearl Earring
1615:Girl with a Pearl Earring
1607:Girl with a Pearl Earring
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1494:Lady Seated at a Virginal
1398:Girl with a Pearl Earring
1278:Officer and Laughing Girl
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1019:Proust's Imaginary Museum
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1254:Diana and Her Companions
964:Bianconi, Piero (1967).
660:"Vermeer, View of Delft"
419:it. The director of the
390:Patronage and provenance
326:Hendrick Cornelisz Vroom
273:Political interpretation
146:) is an oil painting by
19:Not to be confused with
1733:(2013 documentary film)
1667:Delft School (painting)
1662:Antonie van Leeuwenhoek
1406:A Lady Writing a Letter
1350:Woman Holding a Balance
881:. TASCHEN. p. 225.
835:The Burlington Magazine
169:House Standing in Delft
161:by Vermeer, along with
1580:Arthur K. Wheelock Jr.
1555:Théophile Thoré-Bürger
1422:Study of a Young Woman
1366:Woman Reading a Letter
1342:Woman with a Water Jug
1057:1988, note on page 195
857:nationalgallery.org.uk
691:. TASCHEN. p. 72.
593:. Taschen. p. 71.
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446:In Search of Lost Time
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167:and the lost painting
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1486:The Allegory of Faith
877:SchĂĽtz, Karl (2015).
767:. Abrams. p. 30.
702:SchĂĽtz, Karl (2015).
687:SchĂĽtz, Karl (2015).
604:Barker, Emma (2017).
589:SchĂĽtz, Karl (2015).
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1682:Hockney–Falco thesis
1570:John Michael Montias
1132:Artibus et Historiae
979:Runia, Epco (2005).
723:essentialvermeer.com
283:William II of Orange
1792:Cityscape paintings
1725:(2008 history book)
1529:Formerly attributed
1438:The Art of Painting
1414:Girl with a Red Hat
500:100 Great Paintings
463:Jean-Louis Vaudoyer
348:Egbert van der Poel
319:Egbert van der Poel
262:Girl with a Red Hat
1706:Writing to Vermeer
1651:Pieter van Ruijven
1154:Johannes Vermeer,
1100:Liedtke, Walter A.
1055:Éditions Gallimard
802:quod.lib.umich.edu
403:The Little Street.
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281:. From 1648–1650,
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1537:Girl with a Flute
1518:The Guitar Player
1430:Mistress and Maid
1358:Woman with a Lute
1286:The Little Street
1119:978-0-87099-973-4
1047:Antoine Compagnon
945:vanosnabrugge.org
533:978-0-89659-195-0
449:. In Volume One,
376:Delft Thunderclap
356:explosion of 1654
164:The Little Street
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1772:History of Delft
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1657:Han van Meegeren
1390:The Music Lesson
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148:Johannes Vermeer
144:Gezicht op Delft
92:Baroque painting
62:Johannes Vermeer
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41:Gezicht op Delft
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1647:Maria de Knuijt
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1560:Jonathan Janson
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343:A View of Delft
338:Carel Fabritius
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1473:(c. 1669–1670)
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1465:(c. 1669–1670)
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1457:(c. 1668–1669)
1454:The Geographer
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1446:The Astronomer
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1441:(c. 1666–1668)
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1425:(c. 1665–1667)
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1337:(c. 1660–1661)
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1326:The Wine Glass
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1321:(c. 1659–1660)
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1313:(c. 1658–1659)
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1297:(c. 1657–1658)
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1797:Delft in art
1787:Ships in art
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1717:(2004 novel)
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71:c. 1660–1661
38:
1701:(1990 film)
1641:Maria Thins
1626:(2008 play)
1618:(2003 film)
1548:Scholarship
1374:The Concert
1239: 1655
1159:, ColourLex
1080:27 December
1074:Coin Update
1051:Swann's Way
997:(in French)
451:Swann's Way
425:Rijksmuseum
421:Mauritshuis
401:along with
354:(after the
236:Nieuwe Kerk
221:Legermuseum
209:madder lake
205:ultramarine
187:Description
177:Mauritshuis
114:Mauritshuis
1761:Categories
1590:Portrayals
1024:Peter Lang
950:2023-08-26
507:References
211:pigments.
203:, natural
197:lead white
150:, painted
102:Dimensions
1653:(patrons)
1521:(c. 1672)
1449:(c. 1668)
1433:(c. 1667)
1409:(c. 1665)
1401:(c. 1665)
1385:(c. 1664)
1377:(c. 1664)
1369:(c. 1663)
1329:(c. 1660)
1281:(c. 1657)
1273:(c. 1657)
1249:(c. 1655)
1218:Paintings
429:William I
240:Oude Kerk
181:The Hague
118:The Hague
1748:Category
1102:(2001).
862:19 April
728:26 April
669:19 April
644:19 April
576:18557900
488:See also
455:Ver Meer
408:guilders
346:(1652),
336:(1615),
285:and the
110:Location
87:Movement
1634:Related
966:Vermeer
785:. 2015.
539:18 June
358:), and
193:calcite
1672:Tronie
1265:(1656)
1116:
1030:
574:
564:
530:
436:Legacy
207:, and
76:Medium
58:Artist
903:8 May
225:Schie
159:Delft
140:Dutch
35:Dutch
1649:and
1145:The
1114:ISBN
1082:2019
1028:ISBN
1003:2021
905:2023
864:2023
730:2023
671:2023
646:2023
572:OCLC
562:ISBN
541:2010
528:ISBN
332:and
68:Year
1053:by
839:118
362:in
350:in
340:in
328:in
317:by
179:in
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1236:c.
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138:(
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
