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Journal articles on the topic 'Vermeer'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Huang, Kejing. "Beyond the Concept of Genre Painting: Johannes Vermeer and Woman Holding a Balance." Communications in Humanities Research 3, no. 1 (2023): 359–66. http://dx.doi.org/10.54254/2753-7064/3/20220340.

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Though leaving not so many artworks, the Dutch artist Johannes Vermeer has always been known as one of the leading figures of Renaissance art in northern Europe in the seventeenth century. Many of his works are praised for the careful depiction of the daily scenes of the Dutch people, and as a result, being categorized as genre paintings. However, this general comment of reflection of the reality for Vermeer's works has been considered incomplete. The paper focuses on Vermeers masterpiece Woman Holding a Balance, and the main purpose of this paper is to trace Vermeers inner thoughts that he applied in his painting, based on his careful use of underpainting, color, and perspective. The result lies in visual analysis and contextualization of the painting, and it reveals the fact that Vermeer not only wants to present reality but also his artistic invention to form a distant inner world of the painting, with the sense of reverence and privacy of the daily scenes.

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2

Tranströmer, Tomas, and Samuel Charters. "Vermeer." World Literature Today 64, no. 4 (1990): 555. http://dx.doi.org/10.2307/40146863.

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3

Begheyn, Paul. "Johannes Vermeer en de jezuïeten te Delft." Oud Holland - Quarterly for Dutch Art History 121, no. 1 (2008): 40–55. http://dx.doi.org/10.1163/187501708787335910.

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AbstractThis article offers an addition and partial correction to the recent and pioneering research by John Michael Montias on Johannes Vermeer and his milieu. Isaac van der Mije (1602-1656) from Delft, educated as a painter before he became a Jesuit, may very well have been Vermeer's teacher, in view of his closeness to the artist and his family. There is no hard evidence that Vermeer became a Catholic at the occasion of his marriage to Catharina Bolnes in 1653, but it is known that Roeland de Pottere (1584-1675), the Jesuit who performed the marriage, was a rather strict opponent of mixed marriages. The Jesuits in Delft can be considered to have been the patrons who commissioned Vermeer's large painting Allegory of faith (about 1671-1674). Like Jesuits elsewhere in the Republic they will have selected a local painter for their catechetical didactic paintings. Finally two relatives of Vermeer are presented, who were benefactors of the Jesuits.

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4

White, Michael. "Vermeer In Hell." Iowa Review 43, no. 1 (2013): 38–49. http://dx.doi.org/10.17077/0021-065x.7289.

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5

Minor, Kyle, and Lawrence Weschler. "Vermeer in Bosnia." Antioch Review 63, no. 3 (2005): 599. http://dx.doi.org/10.2307/4614875.

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6

Stork, David G. "Tim’s Vermeer, Reconsidered." Optics and Photonics News 32, no. 3 (2021): 42. http://dx.doi.org/10.1364/opn.32.3.000042.

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7

Silver, Larry, Anna Bentkowska Kafel, and Eleanor Tollfree. "Focus on Vermeer." Art Book 8, no. 4 (2001): 3–5. http://dx.doi.org/10.1111/1467-8357.00259.

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8

FORD, C. "Vermeer to Eternity." Oxford Art Journal 20, no. 2 (1997): 86–88. http://dx.doi.org/10.1093/oxartj/20.2.86.

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9

Tyminski, Robert. "Looking at Vermeer." Jung Journal 18, no. 1 (2024): 20–36. http://dx.doi.org/10.1080/19342039.2023.2291759.

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10

Blum, Jessica M. "About Johannes Vermeer Art200246About Johannes Vermeer Art. Internet URL: http://www.about‐vermeer‐art.com/vermeer/index.html: Amsterdam, The Netherlands 2001. Gratis Last visited: September 2001." Reference Reviews 16, no. 1 (2002): 41. http://dx.doi.org/10.1108/rr.2002.16.1.41.46.

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11

Silver, Larry, Daniel Arasse, and Terry Grabar. "Vermeer: Faith in Painting." American Historical Review 100, no. 3 (1995): 913. http://dx.doi.org/10.2307/2168668.

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12

Kwiatek, JoEllen. "A Painting by Vermeer." Antioch Review 43, no. 4 (1985): 465. http://dx.doi.org/10.2307/4611528.

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13

Varkonda, Linda K., Daniel Arasse, and Terry Grabar. "Vermeer: Faith in Painting." Sixteenth Century Journal 26, no. 3 (1995): 696. http://dx.doi.org/10.2307/2543165.

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14

Konowitz, Ellen, and Christiane Hertel. "Vermeer: Reception and Interpretation." Sixteenth Century Journal 29, no. 3 (1998): 817. http://dx.doi.org/10.2307/2543706.

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15

Kampen, Georges. "Vermeer, de Delft, cartographe." Mappemonde 3, no. 3 (1986): 9–12. http://dx.doi.org/10.3406/mappe.1986.2320.

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16

Donhauser, Peter L. "A Key to Vermeer?" Artibus et Historiae 14, no. 27 (1993): 85. http://dx.doi.org/10.2307/1483446.

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17

Schreiber, Michael. "Wie viel Translationstheorie braucht die Historiographie? Zu Hans Vermeers translationshistorischen Studien." Lebende Sprachen 69, no. 1 (2024): 58–68. http://dx.doi.org/10.1515/les-2023-0036.

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Abstract Between 1992 and 2000, Hans Vermeer published some comprehensive monographs on the history of translation from the Antiquity to the Renaissance. In these publications, the historiography of translation theory and practice is based on functionalist translation theories, especially Vermeer’s skopos theory. In this paper, I will try to show how the theoretical framework of Vermeer’s analyses influences the evaluation of particular translations and translation theories. In three case studies from different periods, Vermeer’s approach will be compared to other approaches of translation analysis, especially philological and linguistic ones.

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18

Kim, Minseo, and Jeounghoon Kim. "Complementary Quantitative Approach to Unsolved Issues in Art History: Similarity of Visual Features in the Paintings of Vermeer and His Probable Mentors." Leonardo 52, no. 2 (2019): 164–74. http://dx.doi.org/10.1162/leon_a_01401.

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Who is the most probable mentor to Johannes Vermeer? To provide complementary evidence for this question, the authors quantitatively analyzed and compared the visual features of the works of Vermeer with those of artists proposed as his possible mentors. The results showed that Vermeer and Gerard ter Borch have similar artistic styles in many respects.

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19

Littlejohn, David. "What's so Great about Vermeer?" Hudson Review 49, no. 2 (1996): 259. http://dx.doi.org/10.2307/3852457.

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20

Stambler, Peter. "Head of a Girl (Vermeer)." Chicago Review 35, no. 1 (1985): 70. http://dx.doi.org/10.2307/25305322.

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21

Gelfand, Laura D., and Wayne E. Franits. "The Cambridge Companion to Vermeer." Sixteenth Century Journal 33, no. 4 (2002): 1113. http://dx.doi.org/10.2307/4144147.

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22

James, Sara Nair, Walter Liedtke, Michiel C. Plomp, and Axel Ruger. "Vermeer and the Delft School." Sixteenth Century Journal 33, no. 4 (2002): 1239. http://dx.doi.org/10.2307/4144230.

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23

Heuer, Christopher. "Perspective as Process in Vermeer." Res: Anthropology and aesthetics 38 (September 2000): 82–99. http://dx.doi.org/10.1086/resv38n1ms20167509.

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24

Greiner, Donald J. "John Updike: The Literary Vermeer." Critique: Studies in Contemporary Fiction 51, no. 2 (2010): 177–84. http://dx.doi.org/10.1080/00111610903446278.

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25

Mukhopadhyay, Rajendrani. "It looks like a Vermeer . . ." Analytical Chemistry 77, no. 5 (2005): 91 A. http://dx.doi.org/10.1021/ac053351a.

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26

Vieira, Miriam de Paiva, and Thaïs Flores Nogueira Diniz. "Vermeer sob a luz da transtextualidade." Aletria: Revista de Estudos de Literatura 23, no. 3 (2013): 113–25. http://dx.doi.org/10.17851/2317-2096.23.3.113-125.

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O artigo tem como objetivo analisar a relação existente entre três obras, todas intituladas Moça com brinco de pérola - o retrato de Johannes Vermeer, o romance de Tracy Chevalier e o filme de Peter Webber. A análise se baseia no conceito de transtextualidade, criado por Gérard Genette, que inclui cinco categorias: intertextualidade, paratextualidade, metatextualidade, arquitextualidade e hipertextualidade. Embora maior ênfase seja dada à hipertextualidade, as outras categorias também serão abordadas.

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27

McGee, Julie, and Arthur K. Wheelock. "Vermeer and the Art of Painting." Sixteenth Century Journal 27, no. 4 (1996): 1237. http://dx.doi.org/10.2307/2544004.

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28

Wilder, Ken. "Vermeer: Interruptions, Exclusions, and ‘Imagining Seeing’." Estetika: The European Journal of Aesthetics 52, no. 1 (2015): 38. http://dx.doi.org/10.33134/eeja.132.

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29

Martinon, Jean. "Vermeer et les cartes de géographie." Mappemonde 7, no. 3 (1987): 24–26. http://dx.doi.org/10.3406/mappe.1987.2392.

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30

Reuterswärd, Patrik. "Vermeer. Ett försvar för ögats vittnesbörd." Konsthistorisk Tidskrift/Journal of Art History 57, no. 2 (1988): 55–59. http://dx.doi.org/10.1080/00233608808604174.

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31

Tintner, Adeline R. "James Discovers Jan Vermeer of Delft." Henry James Review 8, no. 1 (1986): 57–70. http://dx.doi.org/10.1353/hjr.2010.0002.

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32

WISEMAN, MARY BITTNER. "Vermeer and the Art of Silence." Journal of Aesthetics and Art Criticism 64, no. 3 (2006): 317–24. http://dx.doi.org/10.1111/j.1540-594x.2006.00209.x.

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33

Liu, Ming-Lou. "Analysis of the Mechanic Behavior and Rutting of Asphalt Concrete Using a Sand Model." Journal of Mechanics 15, no. 4 (1999): 177–84. http://dx.doi.org/10.1017/s1727719100000460.

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AbstractThe stress-strain relationship of the sand and asphalt concrete materials is one of the most important research subjects in the past, and many conctitutive laws for these materials have been proposed in the last two decades. In this study, the Vermeer plasticity model is modified and used to predict the behavior of the sand and asphalt concrete materials under different stress path conditions. The results show that the predictions and test results agree well under different stress path conditions. However, the orignal Vermeer model can not predict the stress-strain behavior of the asphalt concrete. Finally, the modified Vermeer plasticity model is incorporated with the pavement rutting model to predict the rut depth of pavement structure under traffic loadings.

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34

Mohammed Al-Kenani, Tawffeek Abdou Saeed. "Translating Linguistic and Situation-based Jokes from Arabic into English." Al-Adab Journal 1, no. 142 (2022): 17–40. http://dx.doi.org/10.31973/aj.v1i142.3678.

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Jokes have increasingly become the medium through which people in different Arab countries express their concerns. Social media platforms such as Facebook and Twitter are full of jokes tackling various spheres of life. Those jokes serve as a secure resort for people to raise issues they may not be able to express openly. The present study deals with the complications involved in the translation of Arabic jokes in general, and political jokes in particular into English. It sheds some light on the extent to which the translations of those jokes retain the force of their originals. The corpus of this study consists of 100 jokes that have been collected from different websites. The theoretical framework is eclectic, as it considers theories of translation and linguistics. It is based on Hans Vermeer's skopos theory (Nord, 1997; Reiss and Vermeer, 2014; Vermeer, 1989), and Halliday's theory of Systemic Functional Linguistics (SFL) (Halliday, 1985/1994). This study concludes that understanding a joke and then reproducing and translating it depends on a combination of linguistic and extralinguistic factors. The joke tellers may embrace various ideologies, and translators are required to be familiar with those ideologies to render the text adequately. The fidelity of translation will never be preserved unless all those aspects are taken into consideration.

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35

Bergsten, Staffan, and Steven P. Sondrup. "To Go through Walls: Tomas Tranströmer's "Vermeer"." World Literature Today 64, no. 4 (1990): 582. http://dx.doi.org/10.2307/40146880.

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36

Gallagher, John D. "Hans J. Vermeer: Skopos und Translationsauftrag — Aufsätze." Babel. Revue internationale de la traduction / International Journal of Translation 38, no. 1 (1992): 57–58. http://dx.doi.org/10.1075/babel.38.1.17gal.

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37

Behar, Moshe. "Sameness Across Time? Excursion via Johannes Vermeer." Source: Notes in the History of Art 36, no. 2 (2017): 99–107. http://dx.doi.org/10.1086/693030.

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38

Goodman‐Soellner, Elise. "The landscape on the wall in Vermeer." Konsthistorisk Tidskrift/Journal of Art History 58, no. 2 (1989): 76–88. http://dx.doi.org/10.1080/00233608908604225.

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39

Chauí, Marilena. "Imanência e Luz: Espinosa, Vermeer e Rembrandt." Discurso, no. 26 (June 9, 1996): 113–30. http://dx.doi.org/10.11606/issn.2318-8863.discurso.1996.38008.

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Tradicionalmente. a ﬁlosofia de Espinosa é interpretada como acosmismo no qual o percurso intelectual consiste em ir de Deus a Deus, única realidade. Propomos tomar a concepção espinosana da imanência como movimento pelo qual o infinito se conhece através do intelecto ﬁnito e este se realiza através do pensamento divino. Julgamos que uma referência indispensável para compreender a refração da substância divina em infinitos intelectos finitos e sua reflexão neles seja a da óptica de Kepler e do olho kepleriano, tal como é exercitado pela pintura holandesa do século XVII.

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40

Singh, Iona. "Vermeer, materialism, and the transcendental in art." Rethinking Marxism 16, no. 2 (2004): 155–71. http://dx.doi.org/10.1080/08935690410001676212.

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41

d’Hooghe, Ingrid, and Woei-Lien Chong. "In Memoriam Eduard Boudewijn Vermeer (1944–2016)." China Information 30, no. 2 (2016): 259–61. http://dx.doi.org/10.1177/0920203x16653048.

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42

Rando, Flavia. "Vermeer, Jane Gallop, and the Other/Woman." Art Journal 55, no. 4 (1996): 34. http://dx.doi.org/10.2307/777652.

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43

Gallop, Jane. "Annie Leclerc Writing a Letter, with Vermeer." October 33 (1985): 103. http://dx.doi.org/10.2307/778395.

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44

Salevsky, Heidemarie. "Prof. Dr. Dr. h.c. Hans J. Vermeer." Target. International Journal of Translation Studies 22, no. 1 (2010): 1–5. http://dx.doi.org/10.1075/target.22.1.01sal.

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45

Meer, Jos W. M., Anne Lenders, Pilar Barrera Rico, and Robert Klitzman. "Vermeer and Leeuwenhoek, Figments of the Imagination?" FASEB Journal 26, no. 6 (2012): 2238. http://dx.doi.org/10.1096/fj.12-0603ufm.

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46

Rando, Flavia. "Vermeer, Jane Gallop, and the Other/Woman." Art Journal 55, no. 4 (1996): 34–41. http://dx.doi.org/10.1080/00043249.1996.10791783.

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47

Fitzgerald-Hoyt, Mary. "Vermeer in Verse: Eamon Grennan’s Domestic Interiors." New Hibernia Review 2, no. 1 (1998): 121–31. http://dx.doi.org/10.1353/nhr.1998.a926593.

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48

Regattin, Fabio. "Skopos et autotraduction littéraire: un rapprochement nécessaire." Quaderns. Revista de traducció 27 (May 31, 2020): 5–14. http://dx.doi.org/10.5565/rev/quaderns.1.

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Dans cet article, nous allons nous servir de la théorie du skopos, dans la forme développée par Hans J. Vermeer dans reiss & Vermeer (2013), pour décrire les choix traductifs des autotraducteurs et des autotraductrices littéraires. Premièrement, nous allons rappeler les bases de la théorie ; nous allons ensuite les mettre en relation avec certaines lectures de l’autotraduction littéraire qui semblent éloigner cette pratique de la traduction stricto sensu, afin de montrer comment la théorie du skopos peut rendre compte à elle seule de ces différences.

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49

Nel, A. "'Afgekyk van en nagepraat na …': Nederlandse tekste in 'Vroue van Vermeer' van T.T. Cloete." Literator 23, no. 1 (2002): 37–52. http://dx.doi.org/10.4102/lit.v23i1.319.

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'Afgekyk van en nagepraat na…': Dutch texts in 'Vroue van Vermeer' by T.T. Cloete This article focuses on T.T. Cloete’s poem “Vroue van Vermeer” (Driepas) as the product of idiolectic transformation. The first and most obvious original text or frame is the work of the Dutch painter Johannes Vermeer, with the poems and poetical writings of Martinus Nijhoff as a second frame. The third frame consists of texts from the work of J.H. Leopold. Special attention is given to what happens to the text adapted as a transformation, and in what way the source texts are dealt with in the final text. The visual focus of the poem corresponds with that of the paintings, i.e. the figure of the woman, space as constituent of the figure, and the dominating play with light. Cloete depicts his “Umwertung” of the perceived reality in his poem and at the same time models his own poetical concept that corresponds with the poetical views of Nijhoff. The poetical concept includes views regarding the texts, some views of reality and the so-called objectification theory.

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50

Steadman, Philip. "Allegory, Realism, and Vermeer's Use of the Camera Obscura." Early Science and Medicine 10, no. 2 (2005): 287–314. http://dx.doi.org/10.1163/1573382054088123.

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AbstractCritics of the proposal that the Dutch painter Johannes Vermeer used the camera obscura extensively in making his pictures of domestic scenes have argued that this cannot be the case, since his compositions are not 'photographic snapshots' but are very finely judged and balanced; his subject matter draws on the traditional motifs of Dutch genre painting; and the pictures are filled with complex allegorical and symbolic meaning. In this paper it is argued that all these are indeed characteristics of Vermeer's oeuvre, but that the artist produced them through the transcription of optical images of tableaux, set up by arranging real furniture and other 'props' with extreme care, in an actual room in his mother-in-law's house.

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