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Johannes Vermeer - Renaissance and Reformation - Oxford ...

    https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo-9780195399301-0227.xml
    Jun 29, 2015 · Johannes Vermeer (b. 1632–d. 1675) is heralded as one of the greatest artists of the 17th century, the golden age of Dutch painting. His status is all the more remarkable given that only thirty-six paintings have come down to us today. Vermeer was born in Delft to Reformed Protestant parents of relatively modest means.

Is Johannes Vermeer a Renaissance artist? - Quora

    https://www.quora.com/Is-Johannes-Vermeer-a-Renaissance-artist
    Vermeer is regarded as a member of the cohort of artists active in the Dutch Golden Age, which itself was heavily inspired by the Baroque. This is what is largely considered to be his best work: Girl with a Pearl Earring (1665). The black background is impossible to find in Renaissance paintings, even from Northern Europe.

Johannes Vermeer, The Art of Painting (video) Khan Academy

    https://www.khanacademy.org/humanities/renaissance-reformation/baroque-art1/holland/v/vermeer-the-art-of-painting
    May 04, 2017 · Johannes Vermeer, The Art of Painting, 1666-69, oil on canvas, 130 x 110 cm (Kunsthistorisches Museum, Vienna). Speakers: Dr. Steven Zucker & Dr. Beth HarrisAuthor: Beth Harris,Steven Zucker

Johannes Vermeer (1632–1675) Essay The Metropolitan ...

    http://www.metmuseum.org/TOAH/hd/verm/hd_verm.htm
    With Rembrandt and Frans Hals, Vermeer ranks among the most admired of all Dutch artists, but he was much less well known in his own day and remained relatively obscure until the end of the nineteenth century. The main reason for this is that he produced a small number of pictures, perhaps about forty-five (of which thirty-six are known today), primarily for a small circle of patrons in Delft.

Vermeer's Studio - Essential Vermeer

    http://www.essentialvermeer.com/technique/vermeer's-studio.html
    Vermeer's perspective Although the artist's studio had been occasionally portrayed during the Renaissance —the place was not actually called a studio until the nineteenth century—it became a popular motif in the seventeenth-century Netherlands. Particularly numerous were pictures of the workplaces of destitute artists.

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