One spring day in 1683, a notarys clerk in Delft entered the home of the late Magdalena Pieters van Ruijven and stumbled upon one of the wonders of the seventeenth-century world: twenty paintings by Johannes Vermeer. Rather than dispel the mysteries of Vermeers life, this discovery merely gave rise to more questions: How had this one Dutchwoman come to possess the majority of the masters work? And why have these imagesamong the most beautiful, even sublime, in the history of artdefied explanation for so long?
Following new leads and drawing on freshly uncovered evidence from Dutch archives, acclaimed art historian Andrew Graham-Dixon fills these long-standing gaps in art history, presenting a dramatic and transformative new interpretation of Vermeers life and work. Dixon considers Vermeer holistically, placing him in his complex historical, social, religious, political, and artistic context in order to understand what spaces he occupied in his life and how the texture of these spaces inspired his paintings and distinguished him from his artistic contemporaries. Dixon also interrogates the nature of Vermeers relationship with the Van Ruijven family, which was unlike any other known relationship in that time period, and discusses how this dynamic shaped his artistic practice.
Rich with piercingly direct descriptions of Vermeers paintings, Graham-Dixons biography is full of revelations. It upends the masters enigmatic reputation and depicts him instead as a pioneer of the early Enlightenment, a pacifist who was deeply affected by the wars and religious conflicts of the Dutch Republic and allied to a radical movement driven underground by persecution. In Vermeer: A Life Lost and Found, Dixon does what countless art historians and scholars before him failed to: he brings Johannes Vermeer, renowned for his use of chiaroscuro, out of the shadows and into the light.
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