Vermeer, Jan or Johannes, 1632-75, Dutch genre and landscape painter. He was born in Delft, where he spent his entire life. He was also known as Vermeer of Delft and as Jan or Johannes van der Meer. Carel Fabritius is presumed to have influenced him greatly. In 1653 he was admitted to the painters' guild, of which he was twice made dean. He enjoyed only slight recognition during his short life, and his work was forgotten or confused with that of others during the following century. Today he is ranked among the greatest Dutch masters and considered one of the foremost of all colorists. His most frequent subjects were intimate interiors, often with the solitary figure of a woman. Although his paintings are modest in theme, they exhibit a profound serenity and a splendor of execution that are unsurpassed. No painter has depicted more exquisitely luminous blues and yellows, pearly highlights, and the subtle gradations of reflected light, all perfectly integrated within strictly ordered compositions.

Vermeer apparently produced only one or two pictures a year during his period of greatest activity. His career is a mystery to art historians because, although his work was of the finest quality, his output was too small to have been the sole support of his family of 11 children. Only about 35 paintings can be attributed to him with any certainty. Among them are The Milkmaid and The Letter (Rijks Mus.); The Procuress (Dresden); The Art of Painting (Kunsthistorisches Museum, Vienna); View of Delft (The Hague); Soldier and Laughing Girl (Frick Coll., New York City); Girl Asleep and Young Woman with a Water Jug (Metropolitan Mus.); Woman Weighing Gold and Young Girl with a Flute (National Gall. of Art, Washington, D.C.); and The Concert (Gardner Mus., Boston). Forgeries of Vermeer's work have been frequent, Hans van Meegeren's being the most successful (see forgery, in art).

(born Oct. 31, 1632, Delft, Neth.—died Dec. 15, 1675, Delft) Dutch painter. His parents were tavern keepers. He twice served as head of the Delft artists' guild but seems to have depended on his activities as an art dealer to support his family. He painted mainly interior genre subjects, depicting members of aristocratic and upper-middle-class society. About half of these paintings show solitary figures of women absorbed in some ordinary, everyday activity. His interiors combine a microscopic observation of objects with a meticulous depiction of the gradations of daylight on varied shapes and surfaces. His masterpieces (none dated) include View of Delft, Young Woman Reading a Letter, and Allegory of Painting, his most symbolically complex work. He manages to be unique within a typically Dutch genre. Few foreign influences can be sensed in his work. His work was not widely appreciated in his own time, and he remained in obscurity until 1866, when Théophile Thoré celebrated his work and attributed 76 paintings to him; later authorities have reduced the number to between 30 and 35, while proclaiming him one of the greatest painters of all time.

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(born Oct. 31, 1632, Delft, Neth.—died Dec. 15, 1675, Delft) Dutch painter. His parents were tavern keepers. He twice served as head of the Delft artists' guild but seems to have depended on his activities as an art dealer to support his family. He painted mainly interior genre subjects, depicting members of aristocratic and upper-middle-class society. About half of these paintings show solitary figures of women absorbed in some ordinary, everyday activity. His interiors combine a microscopic observation of objects with a meticulous depiction of the gradations of daylight on varied shapes and surfaces. His masterpieces (none dated) include View of Delft, Young Woman Reading a Letter, and Allegory of Painting, his most symbolically complex work. He manages to be unique within a typically Dutch genre. Few foreign influences can be sensed in his work. His work was not widely appreciated in his own time, and he remained in obscurity until 1866, when Théophile Thoré celebrated his work and attributed 76 paintings to him; later authorities have reduced the number to between 30 and 35, while proclaiming him one of the greatest painters of all time.

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The Little Street (Het Straatje) is a painting by the Dutch painter Johannes Vermeer, executed c. 1657-1658. It is housed in the Rijksmuseum of Amsterdam, and signed left below the window with the writing "I V MEER".

Although the painting represents in truth two houses and was initially described as one house only, there does not seem to be any doubt about the identification. It is a very simple and appealing painting, which conveys to the viewer a typical aspect of Dutch life as one encountered it in the period. The habitation ensconces and protects its dwellers, while the façades show the viewer nothing but the outside of their intimate existence. This essential simplicity is translated by the artist into a representation of a quiet street imbued with dignity.

Contemporaries like de Hooch and Jan Steen also painted bricks and mortar, but their treatment is close only in appearance. Vermeer, as usual, elevated his aim into regions of philosophy that surpassed the pedestrian attempts of others by his calm majesty and feeling for shared intimacy, of which he alone was capable. If superficially, Vermeer resembles his Delft colleagues, he easily surpasses them by the depth of his mastery of light and mood. The painting must be chronologically ranged rather early, because he was the initiator of the genre in this particular fashion.

An X-ray shows that the artist had initially planned to add a standing girl to the right of the open alleyway, but eliminated her subsequently so as not to disturb the stillness and equilibrium of the composition. There are numerous painted and watercolour copies after this composition.