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| discovery two and two explore subject patron doggedly output archives whatever master-manipulator relating to to do with rather than coming into |
According to Tracy Chevalier’s book, the girl in one of the paintings is a servant in Vermeer’s house, who becomes a _________ of desire for a character who is also Vermeer’s ____________.
His existence in real life was unknown until recently, and his ____________ helps to explain one of the great mysteries about Vermeer: why he produced so few paintings. The detective in this case was a man who was ____________ combed the Delft __________ for over twenty years, a professor from Yale – John Michael Montias.
“I suddenly realized that various documents ____________ a man named Pieter Klass Van Ruijven actually had __________ a patron of Vermeer, which nobody had realized before. I sort of put _______________ together and it ______ me: this must have been Vermeer’s patron.”
“Well we think that he may have painted maybe forty-five to fifty-five pictures. And we think that he may have sold to his patron close to half of his___________.”
Knowing that Vermeer had a patron makes a lot of sense, and helps explain why he seems so modern to us. I think that having a patron who’d accept ___________ he painted gave Vermeer the freedom to be himself, to __________ his own vision, rather than play to the market. In New York they have one of the earliest paintings for Van Ruijven, where we can see the ________________ of light and space __________ his own.
According to Tracy Chevalier’s book, the girl in one of the paintings is a servant in Vermeer’s house, who becomes a subject of desire for a character who is also Vermeer’s patron.
His existence in real life was unknown until recently, and his discovery helps to explain one of the great mysteries about Vermeer: why he produced so few paintings. The detective in this case was a man who was doggedly combed the Delft archives for over twenty years, a professor from Yale – John Michael Montias.
“I suddenly realized that various documents relating to a man named Pieter Klass Van Ruijven actually had to do with a patron of Vermeer, which nobody had realized before. I sort of put two and two together and it hit me: this must have been Vermeer’s patron.”
“Well we think that he may have painted maybe forty-five to fifty-five pictures. And we think that he may have sold to his patron close to half of his output. ”
Knowing that Vermeer had a patron makes a lot of sense, and helps explain why he seems so modern to us. I think that having a patron who’d accept whatever he painted gave Vermeer the freedom to be himself, to explore his own vision, rather than play to the market. In New York they have one of the earliest paintings for Van Ruijven, where we can see the master manipulator of light and space coming into his own.
(doggedly - упрямо, не отходя от выбранного курса; to comb - to search or inspect with great care)
2 Look through the NOTES and watch the Episode “The World of Vermeer, Part 2”. (Мультимедийный каталог 1556 →Unit 9)
Maria Tins – Vermeer’s mother-in-law
Wilhelm -Maria Tin’s unruly son
Tanneke Everpoel - the kitchen maid
Wilhelm Bolnes - Maria Tins’s unruly son
Hermanus Taerling - manager in a private house of correction
Gouda [Dutch ] -a town in the Netherlands, famous for its cheese, mild and similar in taste to Edam
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