The MilkMaid by Johannes Vermeer is a great
representation of why his work has stood the test of time. It represents Vermeer at his very best. Here, he depicts a specific moment in which
the household maid is attentively working. Her demeanour in preparing food, conveys eloquently
one of the strongest values of 17th century Netherlands. Domestic virtue. In his lifetime Vermeer produced 45 paintings
of which only 36 are known today. He lived a short life in Delft with his wife
and 11 children having passed away at a young age of just 43. He had no pupils and his teacher is unknown
but he was among the respected members of the artists guild in Delft. The guild comprised of six members; two potters,
two stained-glass artists and two painters, Vermeer being one of them. At the time that Vermeer was born in Delft,
the region was shaping up to be one of the first modern cities in the world. The Dutch Golden age helped establish the
Dutch Republic as a leader in trade, science and arts. Most of the artists of this time had studied
in Rome and so were greatly influenced by Caravaggio’s theatrical artistic choices;
such as the use bold colours, strong highlights and deep shadows. Artists such as Frans Hals, Gerrit van Honthorst,
Hendrick Terbrugghen, Rembrandt van Rijn flourished. For example, here we can see two pieces that
look similar at first glance. One by Vermeer, and one by Pieter de Hooch
- a Dutch golden age painter famous for his quiet domestic scenes. Both are masters in their depictions of complex
interior spaces. In fact, Pieter’s sophisticated treatment
of light, in some instances, surpasses that of Vermeer’s. However, it is in the subjects where we see
the real difference. His subjects look almost like wooden puppets,
devoid of any life when perceived by the viewers. However, what set Vermeer apart from other
Dutch masters is his ability to create a narrative from the ordinary lives of his subjects. Vermeer’s father was an art dealer in the
1630s. That may have helped Vermeer develop his ability
to assimilate artistic styles from past and contemporary masters. After his father passed away in 1652, he left
behind a great amount of debt. Vermeer was to continue on his father’s
path as an art dealer to pay off his debt. As funds were tight, Vermeer trained himself
as an painter rather than study with a master. Vermeer was a painter for the common man. The artists preceding him were of the Renaissance
and the Golden age where there was mass representation of monarchs and aristocrats. Yet, he quickly developed his style and put
forth the subject matter we know all too well. Domestic life and it’s many silent pleasures. An unfiltered image of the every day rural
Dutch life. He appreciates the ordinary women around him
and depicts their quiet existence in society. He idealized women in the work field; their
postures, behaviours and expressions suggest that he closely studied them with sympathy. The moments he depicts are intimate. As viewers, we feel the connection that he
has built with the subjects, subtly watching them, a gaze of immense respect. He portrays them as self-sufficient dignified
and strong individuals. Among the few paintings we have of him today,
the majority are of the same setting. A special look at this interior; although
the tile patterns may vary, there is a feeling of familiarity, as if we’ve been here before. The furniture may change, and the subjects
may pass in and out, but the composition, the angles, and the undisturbed moments of
pondering feel identical. In this painting, we can see why Vermeer has
been nicknamed the master of light. He has a way of making us viewers feel as
if we are in the room, as if we have influence over the objects and the subjects’ surroundings. The number of colours available in seventeenth-century
Netherlands was limited, and far fewer than what’s available to the modern artist. The range and depth of colours in Vermeer's
paintings were achieved by using a few pigments. Despite his limited palette, he was able to
create a visual journey, far from muted. His ideologies on colours are drawn from Leonardo
da Vinci’s beliefs, that every colour is governed by every other colour and its vicinity. “A yellow fabric would never truly be yellow
as such but rather an ochre with the accented highlights of yellow.” He had an interest in naturalistic effects,
carefully balancing compositions. He creates extreme contrasts by using the
presence of light affectively. We can see that the light is the second subject
of the painting. The glow is seen on the objects on the table
the bread and the milk jug. He uses it to create a sense of crispness
in the edges. The crustaceous texture of the bread against
the silky softness of the milkmaids clothes and skin. "The light, though bright, doesn't wash out
the rough texture of the bread crusts or flatten the volumes of the maid's thick waist and
rounded shoulders." He uses complementary hues to optimally showcase
highlights and shadows, almost as a means of exaggeration. It has been said that Vermeer has painted
here the most beautiful depiction of the bare white wall. We can see the nails, its shadow and the rust
that surrounds it. He carefully placed each item in the setting
of this room to provide the illusion of a more spacious setting. One thing that we can easily deduce from a
Vermeer piece is his usage of linear perspective. We can even see the spot he punctured on the
canvas while attempting to lay down the base lines for his composition, using a pen and
a thread. Having a unique focal point was uncommon for
this era. His brushwork reveals extraordinary technical
abilities and meticulous care. He layered the paint heavily create a sense
of depth. He painted using fine hair brushes that were
used to achieve the minute detailings. This is called the wet on wet technique that
is used to achieve smoother finishes like that for the depiction of skin. Vermeer accomplishes a delicate balance between
observation and design. He passed away not having gained widespread
fame during his lifetime. In fact, it took 2 centuries after his passing,
for Art historian Gustav Waggen an art critic Théophile Thoré-Bürger to bring to light
Vermeer's oeuvre, to be admired. But he enjoyed the small pleasures of life
and still manage to contribute immensely to the Dutch baroque art movement. His story goes to show us that things of beauty
can stem out of the smallest things. Even if history can sometimes leave us as
an afterthought, the potential joy and mastery of one’s ambitions is enough to surpass
all censorship. Vermeer never left behind a self-portrait. Though many believe the figure on the left
in this painting is him. Today, this man whose face is unknown is able
to captivate viewers 4 centuries after his life, and evoke in them numerous feelings,
making them ask questions about his subjects, their stories and about the master himself. LINKS: https://www.re-thinkingthefuture.com/architectural-community/a5124-life-of-an-artist-johannes-vermeer/ http://www.essentialvermeer.com/catalogue/milkmaid.html
