Johannes Vermeerオランダ, 1632–1675恋文
De liefdesbrief
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『恋文』は今どこに？ 所蔵: アムステルダム国立美術館, アムステルダム. 不明.
アムステルダム, オランダ
所蔵者は判明していますが、現在展示中かどうかは不明です。
- 出典
- 美術館
この絵画について
『恋文』（こいぶみ、蘭: De liefdesbrief、英: The Love Letter）は、17世紀オランダ絵画黄金時代の巨匠ヨハネス・フェルメールが1669-1670年ごろ、キャンバス上に油彩で制作した絵画である。画面左側の壁に「IVMeer」という画家の署名が記されている。本作は1696年のアムステルダムの競売で7番として売却された作品にあてはまり、1893年以来、アムステルダム国立美術館に所蔵されている。
美術館の言葉で
Vermeer chose an unusual vantage point for this painting. From a dim space in the foreground, a glimpse is afforded of another room with a domestic scene. An elegantly dressed woman looks up expectantly at a maidservant, who has just handed her a letter. The seascape on the wall behind them may well allude to the epistle’s subject: during the 17th century, the sea was often compared to love, and the lover to a ship.
アムステルダム国立美術館
作品データ
- 収蔵番号
- SK-A-1595
描かれているもの
カタログ収録
出典
- アムステルダム国立美術館
- 画像： Wikimedia Commons — Public domain
その頃、Johannes Vermeerの人生では
生涯をすべて見る1653–1675 · 活動地
Delft
1653–1675
Patrons: van Ruijven and van Buyten
Pieter van Ruijven and his wife Maria de Knuijt were Vermeer's patrons for the better part of his career: van Ruijven bought much of his output, which kept Vermeer afloat financially but reduced the chances of his fame spreading beyond Delft. The baker Hendrick van Buyten held a couple of his paintings as collateral.
1670
Death of his mother
In 1670 Vermeer's mother, Digna Baltens, who came from Antwerp, died.
1672
The “Year of Disaster”: war and the collapse of the market
In 1672 the Rampjaar, a severe economic downturn, struck the Dutch Republic after French troops under Louis XIV invaded from the south and troops from Münster and Cologne from the east. Vermeer's sale of a painting that year was his last, and five years passed before circumstances improved.
1672
To The Hague: appraising a collection for the Elector
In 1672 Vermeer, a recognised connoisseur, travelled to The Hague, where together with the painter Jacob Jordaens he appraised Venetian and Roman paintings offered to the Elector of Brandenburg for 30,000 guilders. Before a notary he denied the collection's authenticity and declared it worth no more than a tenth of the asking price.
