Girl Reading a Letter at an Open Window, Johannes Vermeer, 1657-58, oil on canvas. Gemäldegalerie Alte Meister, Dresden Another revelation, though, is the O captain my captain new york yankees signature shirt Furthermore, I will do this seemingly darker, more insidious forces behind some of these intrusions, mostly in the form of visitors whose presence often thrums with a quiet menace. In the Officer and Laughing Girl, the woman’s flirtatious smile shines out even as the looming, darkened figure of the cavalier sitting opposite her dominates the frame. Does her open palm hint at a more illicit transaction taking place than romantic courtship? In the equally enigmatic The Glass of Wine, the seated woman tilts her glass near-horizontally to gulp down the booze, while her well-dressed suitor clasps the jug, ready to pour her another helping. Is he trying to get her drunk? In Girl Interrupted at Her Music, on loan from the Frick Collection, there is a touch of forcefulness in the way a sheet of music is being tugged from (or shoved into) the woman’s hands, but she looks out to the viewer with a cryptic gaze. Is she seeking our help, or implicating us in the predatory-feeling moment taking place here? Are we the ones who have interrupted her?Officer and Laughing Girl, Johannes Vermeer, 1657-58, oil on canvas. The Frick Collection, New York. Photo: Joseph Coscia Jr
Girl Interrupted at Her Music, Johannes Vermeer, 1659–61, oil on canvas. The Frick Collection. New York. Photo: Joseph Coscia JrBut the O captain my captain new york yankees signature shirt Furthermore, I will do this exhibition doesn’t seek to decode the enigmas of Vermeer’s paintings conclusively, because who could? And more importantly, who would want to? In a review for the New York Times, critic Jason Farago observed that part of Vermeer’s magic, and what might explain him provoking such a rapturous reception from today’s audience, is his extraordinary ability to provide moments of slowness and stillness in our image-saturated world. That his paintings offer a space in which we can return to a state of concentration and contemplation that is all but impossible in the Internet age. “Nothing important is happening, and yet that nothing is everything now,” he writes. It’s true—and it extends all the way to how the exhibition’s curators have chosen to present Vermeer’s exquisite mysteries. It lets them hang there as windows into another world: a world cloaked in an almost phantasmic beauty, yet often closer to our own than you might think, with its hints of passion and melancholy and even fear.
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