Innuendo in pictures by Vermeer and other Dutch artists at the Fitzwilliam Museum in “Vermeer's Women: Secrets and Silence”

Yesterday, we went to the Vermeer exhibition at the Fitzwilliam Museum “Vermeer's Women: Secrets and Silence”. A bit of a misnomer as it should really be “An exhibition of 32 pictures by Dutch 17th Century Artists, including four pictures by Vermeer”. However, it prompted me to buy and read “Vermeer: The Complete Paintings”, by Norbert Schneider (a bargain at circa £9) from the museum shop. Consequently, I now want to go back and have another look at the paintings, as there is a more detailed symbolism in the images and finer detail to look at that suggests why Vermeer has gained such importance again.

The fast guide to the images of women in their domestic settings is the constant struggle between chastity and the potential eruption of passion in an age where more conservative values on marriage and chastity were being promoted by the authorities. Two Vermeers with women at the virginal are alternatively; The link between music and love in “The Music Lesson”; Hints of a lover's  departure before painting began in “Lady seated at a Virginal”, indicated by the abandoned cello and the picture of “The Procuress” on the wall behind the lady at the virginal.

The contrast is the chaste purity of Vermeer's “The Lacemaker” with her demure gaze downwards on a proper lady's activity, with a very uncluttered composition. This picture is on loan from The Louvre.

Pearls, by the way, represent either vanity or purity – depending on their use. Any picture of that age featuring a woman and wine (in a glass or porcelain decanter) hints at attempted seduction. Onions are erotic symbols and hanging chickens apparently indicate carnal desire! The symbolism of the day was codified, for example in Cesare Ripa's "Iconologia". Items that look innocuous to us had special significance in understanding the underlying message within a painting. A picture within the painting or a bowl of fruit, a gesture or particular posture and dress add meaning (as do the copulating dogs in "The Soldier and the Prostitute" by Frans van Mieris, 1658, though here the message is a bit more obvious).

Vermeer's artistic technique also differs from that of his contemporaries. Here are more aspects to look for.

1. The presence of slight visual and perspective distortions, blurring around the edge of the paintings and highlights. These are seen by some as evidence that Vermeer made extensive use of a camera obscura (a lens system that projects an image onto a screen) to aid his painting. Some of you may remember David Hockney's excellent TV program on the evidence for use of camera obscura by classical painters.
2. Point 1 and the use of colours and shade enraptured the early expressionists who saw in Vermeer a kindred spirit in the way he viewed and painted the world. In fact, when you visit the Fitwilliam Museum, go in at the main entrance, progress upstairs and wander through the Impressionists gallery on your way to the Vermeer exhibition. Then compare Vermeer's brush strokes and hints at detail to the perfect representations in some of his contemporaries' work.
3. Maps. Vermeer regularly and deliberately incorporated representations of real maps in his pictures to make a point. In fact Norbert Schneider uses the pre 1609 map of the Netherlands by Claes Jansz. Visscher and other elements, to re-evaluate the symbolism in Vermeer's painting commonly known as “The Art of Painting”.  Where most art critics see the entire imagery as referring to - the Art of Painting, Norbert sees the picture as a political statement. He claims that it plays homage to the re-ascendant House of Orange and recognises the positive change in popular opinion towards the Hapsburg Holy Roman Empire; all this in a critical period in the Franco-Dutch war, just before a favourable outcome in 1674. This would date the painting to about 1673, much later than others think.

With my interest in microscopy, an additional fascinating fact was that when Vermeer died, Antoniew van Leeuwenhoek took over the responsibility for managing the estate when Vermeer's wife fell into financial difficulty.

What this ultimately also reveals is that beauty and art is really in the eye of the beholder. When I go back to revisit the exhibition I will be evaluating the pictures in a totally different light.