Sunday, August 16, 2015

The Possibilities of a Painting:

This painting hangs in the Mauritshuis in The Hague; it is Vermeer’s c. 1650s Diana and her Companions, and I’m convinced that the intellectual possibilities that it entails are infinite in their offerings. The painting’s sky was removed in the early 2000s, after it was discovered it wasn’t intentionally original. Though, now that it’s been removed, the reception of the painting has changed. Is this the same painting as before, without its sky, or not? Little of the work’s provenance from sources exist, beyond mid-nineteenth century. Where did this work come from and how did it receive its now removed sky? The mellifluous possibilities for intellectual pursuits within a painting–this one, in particular–are often endless. Diana, and her friends, just may be my next new best friends–paralleling Frans Hals, and the many figures that inhabit his family portraits. I've been spending most of my time in museums lately; my weekly visits to the Rijksmuseum, these days, numbers, on average, about four. So looking forward to September am I, when the world of academia that concerns the seventeenth century–and all of its connections to the present–when my contemporary study of the painting's produced in the seventeenth century Dutch Republic, once again, begins.