See also:

• JAN

JAN See also:

• VAN

VAN DER See also:

• JAN VAN DER MEER (1632-1675)
• MEER, OSWALD (1809–1883)

MEER (1632-1675)  , more often called may be traced his love of See also:

• LEMON
• LEMON, MARK (1809-1870)

lemon-yellow and of See also:

• BLUE (common in different forms to most European languages)

blue of all shades . Vermeer of See also:

• DELFT

Delft—not to be confounded with the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder (1628- 1691) or younger (1656-1705) See also:

• VAN

Van der See also:

• MEER, JAN VAN DER (1632-1675)
• MEER, OSWALD (1809–1883)

Meer of See also:

• HAARLEM

Haarlem, or with Van der Meer of See also:

• UTRECHT
• UTRECHT, TREATY OF

Utrecht—is one of the excellent Dutch painters about whom the Dutch biographers give us little See also:

• INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information.' Van der Meer, or Vermeer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in Delft, and was a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of Carel Fabritius, whose junior he was by only eight years . The See also:

• WORKS

works by Fabritius are few, but his contemporaries speak of him as a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of remarkable See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power, and the paintings now ascertained to be from his See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, and formerly ascribed to See also:

• REMBRANDT (1606-1669)

Rembrandt, prove him to have been deeply imbued with the spirit and manner of that n}See also:

• ASTER (Gr. /MrTI P, a star)

aster . Whether Van der Meer had ever any closer relation to Rembrandt than through companionship with Fabritius remains uncertain . In 1653 he married See also:

• CATHERINE
• CATHERINE, SAINT

Catherine Bolenes, and in the same See also:

• YEAR

year he entered the gild of St See also:

• LUKE
• LUKE, GOSPEL OF ST

Luke of Delft, becoming one of the heads of the gild in 1662 and again in 167o . He died at Delft in 1675, leaving a widow and eight See also:

• CHILDREN, LAW RELATING TO

children . His circumstances cannot have been flourishing, for at his See also:

• DEATH

death he See also:

• LEFT

left twenty-six pictures undisposed of, and his widow had to apply to the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court of insolvency to be placed under a See also:

• CURATOR (Lat. for " one who takes care," curare, to take care of)

curator, who was See also:

• LEEUWENHOEK, or LEUWENHOEK, ANTHONY VAN (1632–1723)

Leeuwenhoek, the naturalist . For more than two centuries Van der Meer was almost completely forgotten, and his pictures were sold under the names and forged signatures of the more popular De See also:

• HOOCH, PIETER DE (1629-?1678)

Hooch, See also:

• METSU, GABRIEL (1630—1667)

Metsu, Ter Botch, and even of Rembrandt . The See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention of the See also:

• ART

art-See also:

• WORLD

world was first recalled to this most See also:

• ORIGINAL

original painter by Thore, an exiled Frenchman, who described his then known works in Musees de la Hollande (1858-186o),, published under the assumed name of W . See also:

• BURGER, GOTTFRIED AUGUST (1748-1794)

Burger . The result of his researches, continued in his Galerie Suermondt and Galerie d'Arenberg, was afterwards given by him in a charming, though incomplete, monograph (See also:

• GAZETTE

Gazette See also:

• DES

des See also:

• BEAUX, CECILIA (1863– )

beaux-arts, 1866, pp . 297, 458, 542) .

The task was prosecuted with success by Havard (See also:

• LES

Les Artistes hollandais), and by Obreen (Nederlandsche Kunstgeschiedenis, Dl. iv.), and we are now in a position to refer to Van der Meer's works . His pictures are rarely dated, but one of the most important, in the See also:

• DRESDEN

Dresden See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, bears the date 1656, and thus gives us a See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key to his styles . With the exception of the " See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ with Martha and See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary " in the Coats collection at See also:

• GLASGOW

Glasgow, it is perhaps the only one, hitherto recognized, that has figures of See also:

• LIFE

life See also:

• SIZE

size, though his authorship is claimed for several others . The Dresden picture of a " Woman and Soldier," with other two figures, is painted with remarkable power and boldness, with See also:

• GREAT

great command over the resources of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, and with wonderful expression of life . For strength and colour it more than holds its own beside the neighbouring Rembrandts . To this See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of his career belong, from See also:

• INTERNAL

internal See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence, the "See also:

• READING

Reading Girl " of the same gallery, the luminous and masterly " View of Delft " in the museum of the See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague, the " See also:

• MILK (0. Eng. meoluc; from a common Indo-European root, cf. Lat. mulgere, Gr. ?t dXyetv)

Milk-Woman " and the small See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

street view, both identified with the Six collection at See also:

• AMSTERDAM
• AMSTERDAM (NEw AMSTERDAM)

Amsterdam, the former now in the Rijksmuseum; the magnificent "The See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

Letter" also at Amsterdam, "See also:

• DIANA

Diana and the See also:

• NYMPHS

Nymphs" (formerly ascribed to Vermeer of Utrecht) at the Hague Gallery, and others . In all these we find the same brilliant See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style and vigorous See also:

• WORK

work, a solid impasto, and a crisp, sparkling See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch . His first manner seems to have been influenced by the See also:

• PLEIAD (Gr. Meats)

pleiad of painters circling See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round Rembrandt, a school which lost favour in See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland in the last See also:

• QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter of the See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . During the final ten or twelve years of his life Van der Meer adopted a second manner . We now find his See also:

• PAINTING

painting smooth and thin, and his See also:

• COLOURS, MILITARY

colours paler and softer . Instead of masculine vigour we have refined delicacy and subtlety, but in both styles beauty of See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone and perfect See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony are conspicuous . Through all his work This undeserved neglect seems to have fallen on him at an early period, for See also:

• HOUBRAKEN, JACOBUS (1698–178o)

Houbraken (Groote Schouburgh, 1718), See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing little more than See also:

• FORTY

forty years after his death, does not even mention him .

The only definite information we have from a contemporary is given by Bleyswijck (Beschrijving der Stad Delft, 1687), who tells us that he was born in 1632, and that he worked with Carel Fabritius, an able See also:

• DISCIPLE

disciple of Rembrandt, who lost his life by an See also:

• EXPLOSION

explosion of a See also:

• POWDER (through O. Fr. puldre, modern poudre, from Lat. pulvis, pulveris, dust)

powder See also:

• MAGAZINE

magazine in Delft in 1654 It is to the patient researches of W . Burger (Th . Thor6), Havard, Obreen, Soutendam, and others, that we owe our knowledge of the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main facts of his life, discovered in the archives of his native See also:

• TOWN

town . Of his second style typical examples are to be seen in The Coquette" of the See also:

• BRUNSWICK
• BRUNSWICK (Ger. Braunschweig)
• BRUNSWICK, KARL WILHELM FERDINAND, DUKE OF (1735-18o6)

Brunswick Gallery, in the "Woman Reading" in the Van der Hoop collection now at the Rijksmuseum at Amsterdam, in the " See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

Lady at a See also:

• CASEMENT (from a Lat. form casamentum)

Casement " belonging to See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord Powerscourt (exhibited at the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, x878) and in the " See also:

• MUSIC

Music See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

Master and Pupil " belonging to the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King (exhibited at the Royal Academy, 1876) . Van der Meer's See also:

• AUTHENTIC (from Gr. aOO 'rns, one who does a thing himself)

authentic pictures in public and private collections amount to about See also:

• THIRTY

thirty . There is but one in the Louvre, the " See also:

• LACE (corresponding to Ital. merletto, trina; Genoese Pizzo; Ger. spitzen; Fr. dentelle; Dutch kanten; Span. encaje; the English word owes something to the Fr. lassis or laces, but both are connected with the earlier Lat. laqueus; early French laces were

Lace Maker "; Dresden has the two afore-mentioned, while See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin has three, all acquired in the Suermondt 'collection, and the Czernin Gallery of See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna is fortunate in possessing a See also:

• FINE

fine picture, believed to represent the artist in his studio . In the Arenberg Gallery at See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels there is a remark-able See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of a girl, See also:

• HALF

half the size of life, which seems to be inter-mediate between his two styles . Several of his paintings are in private See also:

• FOREIGN

foreign collections . In all his work there is a singular completeness and See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm . His tone is usually silvery with pearly shadows, and the See also:

• LIGHTING

lighting of his interiors is equal and natural . In all cases his figures seem to move in See also:

• LIGHT

light and See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air, and in this respect he resembles greatly his See also:

• FELLOW

fellow-worker De Hooch . It is curious to read that, at one of the See also:

• AUCTIONS

auctions in Amsterdam about the See also:

• MIDDLE

middle of the 18th century, a De Hooch is praised as being " nearly equal to the famous Van der Meer of Delft." See also Havard, Van der Meer (See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1888) ; Vanzype, Vermeer de Delft (Brussels, 1908), and Hofstede de See also:

• GROOT, GERHARD (1340—1384)

Groot, See also:

• JAN

Jan Vermeer von Delft (See also:

• LEIPZIG

Leipzig, 1909) .