Intense light streams from the window on the left side of the canvas. The artist here used white lead, umber and charcoal black. (A wall map may not have been very out of place in a humble workroom such as the cold kitchen where the maid toiled: large maps in 17th-century Holland were inexpensive ways of decorating bare walls. Se calcula que apenas pintó 45 cuadros, de los que 10 de ellos se perdieron para siempre. Another pane (second row from the bottom, second from right) is pushed inward within its frame. En cuanto a la focalización, ella es también interna, porque conocemos los sentimientos y recuerdos del narrador: “Tuve miedo” (pág. Yet with half of the woman's face in shadow, it is "impossible to tell whether her downcast eyes and pursed lips express wistfulness or concentration," she wrote. In Dutch, Het Melkmeisje is the painting's most-used name. Ediciones Polígrafa. [5] For at least two centuries before the painting was created, milkmaids and kitchen maids had a reputation as being predisposed to love or sex, and this was frequently reflected in Dutch paintings of kitchen and market scenes from Antwerp, Utrecht and Delft. Sin embargo, la mayor parte de su popularidad se debe a una famosa marca de yogur que lleva el mismo nombre. Manuel Rivas is a globally renowned author and poet who comes from the Galician region of northwest Spain. [3], The painting shows a milkmaid, a woman who milks cows and makes dairy products like butter and cheese, in a plain room carefully pouring milk into a squat earthenware container on a table. Soft parts of the bread are rendered with thin swirls of paint, with dabs of ochre used to show the rough edges of broken crust. "[11], An impression of monumentality and "perhaps a sense of dignity" is lent to the image by the artist's choice of a relatively low vantage point and a pyramidal building up of forms from the left foreground to the woman's head, according to a web page of The Metropolitan Museum of Art. The curator added, "I almost think he had to explore what you might call 'tactile illusionism' to understand where he really wanted to go, which was in the more optical, light-filled direction. La lechera. Metropolitan Museum of Art (New York, N.Y.), and Liedtke, Walter A. Rand, Harry. Pág. Obra completa. The panes of glass in the window are varied in a very realistic way, with a crack in one (fourth row from the bottom, far right) reflected on the wood of the window frame. Hay que tener en cuenta que solo pintaba por encargo de los mecenas de la … Wheelock, Arthur K., and Johannes Vermeer. The bread and basket, despite being closer to the viewer, are painted in a more diffuse way than the illusionistic realism of the wall, with its stains, shadowing, nail and nail hole, or the seams and fastenings of the woman's dress, the gleaming, polished brass container hanging from the wall. La lechera es un óleo sobre lienzo de 45,5 x 41 cm del afamado pintor holandés Johannes Vermeer de Delf. She is not the cartoonish buxom vixen in Leyden's drawing. See more ideas about Vintage advertisements, La lechera, Vintage ads. According to the Metropolitan Museum of Art in New York City, it was painted in about 1657 or 1658. The painting was first owned by (and may have been painted for) Pieter van Ruijven, owner of several other paintings by Vermeer which also depicted attractive young women and with themes of desire and self-denial quite different from the attitude of Pepys and many of the paintings in the Dutch "kitchenmaid" tradition.[10]. "[12], Characteristic of Delft artistry and of Vermeer's work, the painting also has a "classic balance" of figurative elements and an "extraordinary treatment of light", according to The Metropolitan Museum of Art. [5], Other painters in this tradition, such as Gerrit Dou (1613–1675), depicted attractive maids with symbolic objects such as jugs and various forms of game and produce. [12] Ownership later passed on, perhaps to his widow, Maria de Knuijt, probably their daughter, Magdelene van Ruijven (1655–1681), and certainly to Van Ruijven's son-in-law, Jacob Dissius (1653–1695),[7][13] whose estate sold it with other paintings by the artist in 1696. [2] According to the Rijksmuseum, the painting "is built up along two diagonal lines. Just below that pane, another has a scratch, indicated with a thin white line. Destacan los sencillos dibujos de los azulejos del fondo de la escena. Product details Audible Audiobook Listening Length: Las voces bajas Spanish Edition. Milk also had lewd connotations, from the slang term melken, defined as "to sexually attract or lure" (a meaning that may have originated from watching farm girls working under cows, according to Liedtke). La lechera (en neerlandés: Het melkmeisje o también De keukenmeid o De melkmeid) es uno de los cuadros más famosos del artista holandés Johannes Vermeer, cuya datación, como casi toda la obra de Vermeer, solo puede ser aproximada. És tal la precisió amb què reprodueix la superfície tacada i irregular de la paret o la tosca carcassa de la finestra, que alguns crítics han suggerit l'ús d'una càmera obscura. Posted by pablob at 4: It has great views and consists of forests surrounded by eucalyptus trees. "La lechera", un yogur de Nestlé (1974) La pintura de Vermeer "La lechera" (alrededor de 1660) ha estado en exhibición en el Rijksmuseum de Ámsterdam desde 1908. Although the formula was widely known among Vermeer's contemporary genre painters, "perhaps no artist more than Vermeer was able to use it so effectively", according to the Essential Vermeer website. Six van Vromade, Amsterdam, 1908, with support of the Vereniging Rembrandt Original Title: Het melkmeisje Dimensiones físicas: w410 x h455 mm Tipo: Pintura Enlace externo: Descubre más de esta obra en la … Other European exhibits showing the work include the Royal Academy of Arts ("Exhibition of Dutch Art", London) in 1929; Galerie nationale du Jeu de Paume ("Exposition hollandaise: Tableaux, aquarelles et dessíns anciens et modernes", Paris) in 1921; Museum Boijmans Van Beuningen ("Vermeer, oorsprong en invloed: Fabritius, De Hooch, De Witte", Rotterdam) in 1935. [7], Vermeer's painting is even more understated, although the use of symbols remains: one of the Delft tiles at the foot of the wall behind the maid, near the foot warmer, depicts Cupid – which can imply arousal of a woman[2] or simply that while she is working she is daydreaming about a man. The glazing helps suggest that the blue material is a less coarse fabric than the yellow bodice, according to Cant. The Milkmaid (Dutch: De Melkmeid or Het Melkmeisje), sometimes called The Kitchen Maid, is an oil-on-canvas painting of a "milkmaid", in fact, a domestic kitchen maid, by the Dutch artist Johannes Vermeer. La lechera de Vermeer by Alicia Martín Estaún on Prezi. It is now in the Rijksmuseum in Amsterdam, the Netherlands, which regards it as "unquestionably one of the museum's finest attractions". La Lechera de Vermeer Narrador y sus voces El narrador de este relato es interno, habla en la primera persona del singular como lo podemos observar en la página 60, línea 6: “Yo conocía el miedo”. Selon l’historien John Michael Montias, il s'agirait de Tanneke Erverpoel, la domestique qui fut, au début des années 1660, au service de Maria Thins, la belle-mère de Johannes Vermeer. [2] Other amorous symbols in the painting include a wide-mouthed jug, often used as a symbol of the female anatomy. In 1999 and 2000 the painting was at the National Gallery of Art in Washington for its exhibition "Johannes Vermeer: The Art of Painting", and it was part of the "Vermeer and the Delft School" exhibition at the National Gallery, London from June 20 to September 16, 2001 (it did not appear at the Metropolitan Museum of Art venue of that exhibition, earlier that year).[7]. En La lechera (1660, Rijksmuseum, Amsterdam), Mujer con jarra de agua (1663, Museo Metropolitano de Arte), Vista de Delft (c. 1660, Mauritshuis, La Haya) y otras obras, se recogen los efectos de la luz con una sutileza y pureza de color que son únicas. "There's a bit of mystery about her for modern audiences. During the war, the work was also displayed at The Metropolitan Museum of Art in New York, where it was hanging as late as 1944, according to Leidtke. (Photo by Thierry Chesnot/Getty Images) Getty. En esta obra el artista capta con todo de detalles y seguridad, la prudencia y determinación con que una empleada de cocina doméstica realiza una de sus tareas más habituales: verter leche sobre loza de cerámica. "The light, though bright, doesn't wash out the rough texture of the bread crusts or flatten the volumes of the maid's thick waist and rounded shoulders", wrote Karen Rosenberg, an art critic for The New York Times. In 1872 it was part of an Amsterdam exhibition of "old masters" ("Tentoonstelling van zeldzame en belangrijke schilderijen van oude meesters"), for Arti et Amicitiae, a society of visual artists and art lovers, and in 1900 it was part of an exhibition at Stedelijk Museum Amsterdam. "La lechera de Vermeer" La lechera de Vermeer Imagen Literatura Tripartita Desarrollo Estructura Introducción Presentación de madre e hijo. [2] The "Essential Vermeer" website gives a broader range of 1658–1661. She is not the ideal, worldly housewife of Vermeer's later Young Woman with a Water Pitcher or the ethereal beauty in Girl with a Pearl Earring. La habitación casi desnuda, vacía y sola apenas si alberga más decoración que un sencillo cesto colgado de una de las paredes. "There is a tactile, visceral quality to The Milkmaid — you can almost taste the thick, creamy milk escaping the jug, feel the cool dampness of the room and the starchy linen of the maid's white cap, touch her sculptural shoulders and corseted waist. [3], The woman's coarse features are painted with thick dabs of impasto. [1], The exact year of the painting's completion is unknown, with estimates varying by source. She pours milk into the Dutch oven to cover the mixture because otherwise the bread, if not simmering in liquid while it is baking, will become an unappetizing, dry crust instead of forming the typical upper surface of the pudding. [2] "In almost all the works of this tradition there is an erotic element, which is conveyed through gestures ranging from jamming chickens onto spits to gently offering — or so the direction of view suggests — an intimate glimpse of some vaguely uterine object," according to Liedtke. Esta pintura consigue unir de un modo magistral dos conceptos que en principio parecen antagónicos: una sensación de monumentalidad y un gran sosiego. [2] Vermeer, who was age twenty-five when he painted this work, was "shopping around in Dutch art for different styles and subjects", according to Liedtke. Johannes Vermeer est né à Delft le 31 octobre 1632, lieu d'une forte dynamique pour la peinture hollandaise. [3], The painting has been exhibited in western Europe and in the United States. VERMEER de DELFT. )[3] He originally placed a large, conspicuous clothes basket (the Rijksmuseum web page calls it a "sewing basket")[1] near the bottom of the painting, behind the maid's red skirt, but then the artist painted it over, producing the slight shift in tone (pentimento) on the wall behind the foot warmer. Rand assumed she would have already made custard in which the bread mixed with egg would be soaking at the moment depicted in the painting. Henderson, Jasper, Victor Schiferli, and Lynne Richards. '"[5], The woman would have been known as a "kitchen maid" or maid-of-all-work rather than a specialised "milkmaid" at the time the painting was created: "milk maids" were women who milked cows; kitchen maids worked in kitchens. She is careful in pouring the trickle of milk because bread pudding can be ruined when the ingredients are not accurately measured or properly combined. El pintor ha utilizado sus colores: el azul (realizado con un pigmento, el azul de ultramar, derivado del lapislázuli),[1]​ y el amarillo, en sorprendente armonía. Una obra de arte. [9], The painting is part of a social context of the sexual or romantic interactions of maids and men of higher social ranks that has now disappeared in Europe and which was never commonly recognized in America. "[11], This painting has "perhaps, the most brilliant color scheme of his oeuvre", according to the Essential Vermeer website. Liedtke sees the work as either Vermeer's "last early work or first mature work". [4], "It's a little bit of a Mona Lisa effect" in modern viewers' reactions to the painting, according to Walter Liedtke, curator of the department of European paintings at The Metropolitan Museum of Art, and organizer of two Vermeer exhibits. A Vermeer li va agradar posar-se a prova amb materials més senzills. La página del Rijksmuseum dedicada a esta obra, https://es.wikipedia.org/w/index.php?title=La_lechera&oldid=130408627, Wikipedia:Artículos que necesitan referencias, Wikipedia:Referenciar (aún sin clasificar), Wikipedia:Artículos con datos por trasladar a Wikidata, Wikipedia:Artículos buenos en la Wikipedia en japonés, Wikipedia:Artículos con identificadores VIAF, Wikipedia:Artículos con identificadores GND, Wikipedia:Artículos con identificadores LCCN, Wikipedia:Artículos con identificadores Handle, Wikipedia:Páginas con enlaces mágicos de ISBN, Licencia Creative Commons Atribución Compartir Igual 3.0. [3], "In the end, it is not the allusions to female sexuality that give this painting its romance or emotional resonance — it is the depiction of honest, hard work as something romantic in and of itself," Raquel Laneri wrote in Forbes magazine. [3], "[I]ts rustic immediacy differs from Vermeer's later paintings," according to Laneri. The basket was later discovered with an X-ray. [5] The coals enclosed inside the foot warmer could symbolize "either the heat of lust in tavern or brothel scenes, or the hidden but true burning passion of a woman for her husband", according to Serena Cant, a British art historian and lecturer. See all 8 reviews. Dans la lumière de Vermeer Musée de l'Orangerie no. The foot warmer was often used by artists as a symbol for female sexual arousal because, when placed under a skirt, it heats the whole body below the waist, according to Liedtke. [3] One of the distinctions of Vermeer's palette, compared with his contemporaries, was his preference for the expensive natural ultramarine (made from crushed lapis lazuli) where other painters typically used the much cheaper azurite. En la esquina de una habitación, iluminada por una ventana que se encuentra a la izquierda del cuadro, un poco alta, se presenta la figura de una mujer, probablemente una criada, que está vertiendo leche de cabra que estaba en una jarra en un recipiente de barro que descansa sobre una mesa. One was a large wall map (a Rijksmuseum web page calls it a painting)[1] behind the upper part of the woman's body. La lechera se trata de un cuadro realizado al óleo sobre un lienzo de pequeñas dimensiones (44,5 x 41 cm), por el pintor holandés Johannes Vermeer entre los años 1658 y 1660, y expuesto actualmente en el Riijksmuseum de Ámsterdam (Holanda). Y es que su producción fue muy limitada, pero, como decimos, no tiene desperdicio. Other Vermeer paintings also have images removed. Johannes Vermeer – “La lechera” (h.1658, óleo sobre lienzo, 45x41 cm, Rijksmuseum, Amsterdam) ¿Qué tiene este cuadro de Vermeer para levantar tantas pasiones? El gesto inmortalizado por Vermeer tiene algo de estatua antigua. La Laitière (Het melkmeisje ou De melkmeid en néerlandais) est un tableau de Johannes Vermeer, dit Vermeer de Delft (huile sur toile, 45,5 × 41 cm), peint vers 1658, et exposé depuis 1908 au Rijksmuseum d'Amsterdam [1].. L'œuvre compte parmi les plus célèbres de Vermeer, et même de l'histoire de la peinture — son utilisation à des fins commerciales n'étant sûrement pas … A foot warmer is on the floor behind her, near Delft wall tiles depicting Cupid (to the viewer's left) and a figure with a pole (to the right). ** PALACIO REAL DE MADRID [3] Depicting white walls was a challenge for artists in Vermeer's time, with his contemporaries using various forms of gray pigment. Ella hace su labor de modo atento, pero me parece que a la vez está sumida en una ensoñación lejana. She is a young, sturdily built woman wearing a crisp linen cap, a blue apron and work sleeves pushed up from thick forearms. En el centro de interpretación de Delft solo nos hablan de 35 obras, entre las que también podemos destacar The Milkmaid (La lechera), una de las pinturas estrella del Rijksmuseum de Amsterdam. [7], It was exhibited at the 1939 World's Fair in New York City,[15] and the outbreak of World War II during the fair – with the German occupation of the Netherlands – caused the work to remain in the U.S. until Holland was liberated. Gracias por ponerlo en tu blog, Calamanda. Broad strokes in the painting of the clothing suggests the coarse, thick texture of the work clothing. This focuses the attention of the viewer on the pouring of the milk. La obra de Johannes Vermeer es reducida. Jul 25, 2018 - Explore Nestle dragon's board "Nestle La Lechera", followed by 146 people on Pinterest. [8], In Dutch literature and paintings of Vermeer's time, maids were often depicted as subjects of male desire—dangerous women threatening the honor and security of the home, the center of Dutch life—although some Vermeer contemporaries, such as Pieter de Hooch, had started to represent them in a more neutral way, as did Michael Sweerts. "[2], Vermeer painted over two items originally in the painting. The Hague March 1–June 2, 1996 Johannes Vermeer Royal Cabinet of Paintings Mauritshuis 108–113, no. "[12], "Nowhere else in his oeuvre does one find such a sculptural figure and such seemingly tangible objects, and yet the future painter of luminous interiors has already arrived," according to the museum. [14] "The famous milkmaid, by Vermeer of Delft, artful", went through at least five Amsterdam collections before it became part of what The Metropolitan Museum of Art called "one of the great collectors of Dutch art", that of Lucretia Johanna van Winter (1785–1845). [1], The photograph-like realism of the painting resembles that of Leiden artists such as Dou, Frans van Mieris, and Gabriël Metsu. And our reaction is 'What is she thinking? La lechera (Jan Vermeer, 1660) En un cuadro de Vermeer hay sólo una o dos figuras y unas pocas cosas en una habitación y sin embargo no se termina de ver nunca. The blue cuff uses a lighter mixture of ultramarine and lead-white, together with a layer of ochre painted beneath it. The humble woman is using common ingredients and otherwise useless stale bread to create a pleasurable product for the household. Hijo Alicia Martín Estaún 4º de Filología Hispánica Mundo sensorial Johannes Vermeer Pintado entre 1660 y 1661. [9] Liedtke points out that a pinhole discovered in the canvas "has really punctured the theory of the camera obscura [...] The idea that Vermeer traced compositions in an optical device [...] is rather naive when you consider that the light lasts maybe 10 seconds, but the painting took at least months to paint." Esta página se editó por última vez el 27 oct 2020 a las 00:45. La lechera de Vermeer es un cuadro vivo, a mi juicio, palpitante de sensaciones, fresco y perdurable en la historia y en la memoria. 1998. "The Milkmaid, Johannes Vermeer, c 1660 - Rijksmuseum", "Vermeer's 'Milkmaid' cause for celebration at MMA", "Vermeer's Timeless Heroine – A New Exhibit Recasts the Enduring Appeal of the Dutch Master's 'Milkmaid, Catalogue of paintings by the late Pieter de Neufville, nr. La lechera – Wikimedia Commons. Johannes Vermeer, 17th-century Dutch artist, known for his luminous paintings of daily life, allegorical scenes, and cityscapes. "He's looking, in this case, mainly at artists like Gerrit Dou and others who work in a meticulous, illusionistic way." [9], The discrepancy between objects at various distances from the viewer may indicate Vermeer used a camera obscura, according to Cant. Here the white walls reflect the daylight with different intensities, displaying the effects of uneven textures on the plastered surfaces. 183. The Milkmaid (Dutch: De Melkmeid or Het Melkmeisje), sometimes called The Kitchen Maid, is an oil-on-canvas painting of a "milkmaid", in fact, a domestic kitchen maid, by the Dutch artist Johannes Vermeer. [2], The leading artists in this tradition were the Antwerp painters Joachim Beuckelaer (c. 1535–1575) and Frans Snyders (1579–1657), who had many followers and imitators, as well as Pieter Aertsen (who, like Beukelaer, had clients in Delft), the Utrecht Mannerist painter Joachim Wtewael (1566–1638), and his son, Peter Wtewael (1596–1660). "The Milkmaid elevates the drudgery of housework and servitude to virtuous, even heroic, levels. La lechera (en neerlandés: Het melkmeisje o también De keukenmeid o De melkmeid) es uno de los cuadros más famosos del artista holandés Johannes Vermeer, cuya datación, como casi toda la obra de Vermeer, solo puede ser aproximada.Se trata de un óleo sobre lienzo de reducidas dimensiones, custodiado en el Rijksmuseum de Ámsterdam desde su adquisición en 1908. Casas Novoa ** RIBERA. 65, "Vermeer's 'Milkmaid' to Be Loaned to NYC Museum", The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age, Special Exhibition: Vermeer’s Masterpiece, The Milkmaid, Vermeer’s Masterpiece The Milkmaid: Discreet Object of Desire: A Curatorial Talk, The Ghost of Vermeer of Delft Which Can Be Used As a Table, https://en.wikipedia.org/w/index.php?title=The_Milkmaid_(Vermeer)&oldid=994469629, Wikipedia articles with RKDID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License. La lechera de Vermeer by Alicia Martín Estaún on Prezi. [6] Some of the paintings were slyly suggestive, like The Milkmaid, others more coarsely so. [2][7] Closer to Vermeer's day, Nicolaes Maes painted several comic pictures now given titles such as The Lazy Servant. "Wat maakte de 'Keukenmeid' van Vermeer?". However by this time there was an alternative convention of painting women at work in the home as exemplars of Dutch domestic virtue, dealt with at length by Simon Schama. Yet the whitewashed wall and presence of milk seem to indicate that the room was a "cool kitchen" used for cooking with dairy products, such as milk and butter, so the foot warmer would have a pragmatic purpose there. 8 de septiembre de 2009, 22:17 La protagonista no es más que una joven criada, absorta en su tarea de verter leche en un recipiente de barro (según los expertos está haciendo un pudding con el pan). During this time it was displayed at the Detroit Institute of Arts in Michigan (the museum where the curator of the World's Fair exhibit was working), and was included in that museum's exhibition catalogues in 1939 and 1941. [3], By depicting the working maid in the act of careful cooking, the artist presents not just a picture of an everyday scene, but one with ethical and social value. RERAT, Alain. Vermeer. La criada se encuentra en su universo particular, en un interior casi desnudo, con la presencia de unos pocos objetos sencillos. Editorial Debate ISBN 84-7444-972-39879867. The painting returned to New York in 2009, on the occasion of the 400th anniversary of Henry Hudson's historic voyage (Amsterdam to Manhattan), where it was the central feature of a Metropolitan Museum of Art exhibition, alongside several of the museum's five Vermeer works and other Dutch Golden Age paintings. Vermeer fue uno de los artistas más reconocidos de la esplendorosa época que vivieron los Países Bajos durante el Barroco.Si bien es cierto que la autoría y datación de algunas de sus obras ha sido muy discutida, hoy el pintor es una de las figuras destacadas durante el XVII aunque su producción … La influencia del pintor holandés del barroco Pieter de Hooch sobre Vermeer está confirmada en el cuadro La lechera. In 1966, it was part of an exhibition at the Mauritshuis in the Hague and the Musée de l'Orangerie in Paris. Records of that sale described The Milkmaid as "exceptionally good", and the work brought the second-highest price in the sale (175 guilders, exceeded only by the 200 guilders paid for Vermeer's cityscape, View of Delft. Vermeer's painting is one of the rare examples of a maid treated in an empathetic and dignified way,[3] although amorous symbols in this work still exemplify the tradition. La lechera, de Johannes Vermeer van Delft Hacia 1660 Óleo sobre lienzo 45,5 x 41 cm Rijksmuseum (Amsterdam: Holanda) La lechera. [4], The painting is strikingly illusionistic, conveying not just details but a sense of the weight of the woman and the table. "Her measured demeanor, modest dress and judiciousness in preparing her food conveys eloquently yet unobtrusively one of the strongest values of 17th-century Netherlands, domestic virtue", according to the Essential Vermeer website. Already in the 18th century, English painter and critic Joshua Reynolds praised the work for its striking quality. The small roll at the far right has thick impastoed dots that resemble a knobbly crust or a crust with seeds on it. Puedes avisar al redactor principal pegando lo siguiente en su página de discusión: Este aviso fue puesto el 27 de octubre de 2020. See Schama, Chapter 6 on the housemaid, "the most dangerous women of all" (p. 455). Expertos y críticos han escrito textos muy sugerentes sobre la naturaleza de esa luminosidad, pero la última conclusión es siempre un interrogante. Rijksmuseum (Ámsterdam) Título: La Lechera Creador: Johannes Vermeer Fecha de creación: Around 1660 Style: Escuela de los Países Bajos del Norte Provenance: Purchased from the heirs of Jonkheer P.H. Está de pie, bañada en luz. Es lo que llaman el misterio de Vermeer. She is real — as real as a painting can get anyway. It is now in the Rijksmuseum in Amsterdam, the Netherlands, which regards it as "unquestionably one of the museum's finest attractions". In Dou's 1646 painting, Girl Chopping Onions (now in the British Royal Collection), a pewter tankard may refer to both male and female anatomy, and the picture contains other contemporary symbols of lust, such as onions (said to have aphrodisical properties), and a dangling bird. Un fuerte abrazo. Although this title is less accurate in modern Dutch, the word "meid" (maid) has gained a negative connotation that is not present in its diminutive form ("meisje")—hence the use of the more friendly title for the work, used by the Rijksmuseum and others. This page was last edited on 15 December 2020, at 21:45. See also Franits, 118-119 and 166, and the other passages under "maids, sterotypes" in his index. Una visitante toma una foto del cuadro de Vermeer 'La lechera'. Examples of works using milk this way include Lucas van Leyden's engraving The Milkmaid (1510) and Jacques de Gheyn II's engraving The Archer and the Milkmaid (about 1610). La lechera es una obra pictórica del artista holandés Johannes Vermeer (1632-1675). In 1822 she married into the Six family of collectors, and in 1908 her two sons sold the painting (as part of the famous Six collection of thirty-nine works) to the Rijksmuseum, which acquired the works with support from the Dutch government and the Rembrandt Society[2] — but not before a good deal of public squabbling and the intervention of the States-General or Dutch parliament. Si l’ambiguïté demeure sur la vertu de la servante, il semblerait que l'identité du modèle utilisé par Vermeer soit, elle, connue. La lechera (c. 1658), de Johannes Vermeer. [2][3]), In 1765 the painting was auctioned by Leendert Pieter de Neufville. En 1653 casó con Caterina Bolnes, perteneciente a una acomodada familia católica, que le dio once hijos. One piece of bread to the viewer's right and close to the Dutch oven, has a broad band of yellow, different from the crust, which Cant believes is a suggestion that the piece is going stale. El Arte de la Pintura ** GÓMEZ DE MORA.. Plaza mayor de Madrid ** CHURRIGUERA. Since other Dutch paintings of the period indicate that foot warmers were used when seated, its presence in the picture may symbolize the standing woman's "hardworking nature", according to Cant. Vermeer of Delft, Albert Blankert, Robert Ruurs, Willem L. van de Watering, cat.nr. 7 Het wonder van de Gouden Eeuw , Marcella van der Weg Het straatje van Vermeer : gezicht op de Penspoort in Delft , Frans Grijzenhout, p. 15, cat.nr. Milkmaids began working solely in the stables before large houses hired them to do housework as well rather than hiring out for more staff. According to art historian Harry Rand, the painting suggests the woman is making bread pudding, which would account for the milk and the broken pieces of bread on the table. Although only about 36 of his paintings survive, including Girl with a Pearl Earring, these rare works are among the greatest treasures in the world’s finest museums. The brilliant blue of the skirt or apron has been intensified with a glaze (a thin, transparent top layer) of the same color. The seeds on the crust of the bread, as well as the crust itself, along with the plaited handles of the bread basket, are rendered with pointillé dots. Se trata de un óleo sobre lienzo de reducidas dimensiones, custodiado en el Rijksmuseum de Ámsterdam desde su adquisición en 1908.

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