Renaissance Humanism: During the period of 1400 and 1650, the humanism term was used for main social philosophy and intellectual and literary works.
âExpansion of trade, growth of prosperity and luxury and widening social contacts created great interest in worldly pleasures, in spite of formal adherence to ascetic Christian policy.â In that case people welcomed such classical writers or artists who conveyed same social values and secular attitudes in their creative works (Kreis, 2008, 1).
In 1808, a German educator, F.J. Niethammar described the term âhumanismâ. It was to describe some scientific and educational study programs.
âThe term âumanistaâ or âhumanistâ was described in the fifteenth century that told about a professional group of teachers who were related to the subject called âstudia humanitatis.â Humanism never opposed logics but it was not in favor of Scholasticism(Hooker, 1996, 2).
âThe man of renaissance lived in two worlds-the world of the medieval Christian matrix, in which the importance of every phenomenon was eventually indomitable through similar point of view. The man felt himself deferring between reason and faithâ (Kreis, 2008, 3).
Beauty was understood a major part of life and humanist cult of beauty was explained that made it simple that humanism is above everything.
It was called an aesthetic movement. The aestheticism became the major element that superseded supernatural and scientific elements. âThe man became the part of everything and he dealt with an ideal life which was no longer an escape from monastic kind of life rather it was a full participation in rich and varied human relationshipsâ (Kreis, 2008, 4-5).
About Johannes Vermeer:Among all the Dutch Masters of Renaissance age, besides Rembrandt of course, Johannes Vermeer is maybe the most popular today. He was born in October 1632 and died in December 1675, lived and worked in Delft.
Though his life was short lived but he left most exquisite paintings in Western art. Until the end of nineteenth Century, he remained relatively obscure and was not much known in his own days, as he produced not many paintings, may be around forty five of which only thirty seven are known today (Liedtke, 2011, Para 1).
His works are rare and portray figures in interiors. His work is distinguished by the poetic quality of images and the effect of strong and bright colors. Though Vermeerâs work was famous in The Hague, Antwerp and Amsterdam but nearly half of his work was acquired by Pieter van Ruijven (Pioch, 2002, Para 2).
Very little is known about Vermeer or his teacher and evidently he himself had no pupils. His teacher could either be Leonaert Bramer or Carel Fabritius of Delft. He was a respected member of the Delft painterâs guild (Liedtke, 2011, Para 2).
âVermeerâs father was a silk weaver but by about 1630 became an innkeeper and art dealer. He got married in 1653 to a wealthy catholic divorcee and converted to their religionâ (Liedtke, 2011, Para 1). He moved into his wifeâs house in the heart of Delft. He died at a young age of forty three leaving his wife with eleven children and his paintings. Though his paintings commanded high prices but due to the miserable Dutch economy of 1670âs made his last few years miserable(Liedtke, 2011, Para 1).
Vermeerâs original concept was not like todayâs balanced composition. In the period of 1950s and 1960s the Dutch genre painters most commonly used the theme of a woman at her toilette. Vermeerâs famous painting âThe Young Woman before a Mirrorâ in 1962 was an iconographic work. âHe made some critical changes in his composition according to the revelation of neutron autoradiographyâ(Janson, 2011). He concentrated his vision on the upper part of the composition.
âHe reshaped the bluish clothe of the still life and removed many black and white floor tiles and many other complex structure of tableâ (Janson, 2011). That is why the viewers mainly focus on the upper portion. His major modification was to exclude the musical instrument like cittern (Janson, 2011).
According to Arthur Wheelock, âin the present work the artist minimized the apparent physical activity of the figure, portraying her at the moment she has the ribbons pulled taut.
Her thoughts may be inward, but they are expressed through her gaze, which reaches across the white wall of the room to the mirror next to the window. The whole space between her and the side wall of the room thus becomes activated with her presence.
It is a subtle yet daring composition, one that succeeds because of Vermeerâs acute sensitivity to the placements of objects and to the importance of spaces between these objectsâ(Janson, 2011).
In the painting âThe Young Woman before a Mirrorâ the most exclusive modification was âthe exclusion of a large wall map that surrounded the standing girl absorbing her from into the rest of the composition and eliminating the direct line of her gaze towards mirrorâ (Janson, 2011). Wheelock mentions that âthe map, representing the physical world, and the musicalinstrument, referring to sensual love, would have given a context for interpreting the mirror and the pearls negatively rather than positively.
Indeed, the sensual earthy connotations are similar to those associated with âVrouw Wereldâ (Janson, 2011). âThe Vrouw Wereld (the Lady World) was a well-known allegorical figure dating back to medieval times who personifies worldly pleasures and transience.
By removing the map and musical instrument, Wheelock proposes that Vermeer transformed the image into a poetic one evoking the ideals of purity and truth,â which actually have been the main qualities of renaissance era (Janson, 2011).
The importance of mirror in his paintings: Normally the mirrors can be associated with many innovative meanings and associations.âThey are used generally as the symbol of wisdom and self-knowledge built at the same time they can be associated with vanity, an unhealthy amount of self-regardâ (Janson, 2011).
Renaissance artists are popular for using the mirrors more objectively to analyze reality. The Roman goddess Venusâs characteristics also can be associated with the use of mirrors as in the olden time, âthe mirrors could be related with the world of womenâ (Janson, 2011).
âFrom the Renaissance, Vanity and Deception were the connotations the mirror carried most often rather Truth and Prudenceâ(Janson, 2011).
There is no evidence about Vermeerâs interaction with his colleagues. He boldly did not follow the innovative themes and painting techniques as his colleagues did. His paintings reflect his character and nature and present him as a quiet and balanced person. He seems to be an âeven-tempered, confident, controlled and likely graced with above average social skillsâ (Janson, 2011).
Reference List
Hooker, Richard. 1996. âHumanism.â WSU. Web.
Janson, Jonathan. 2011. âThe Complete Interactive Vermeer Catalogue.â E V.co. Web.
Kreis, Stever. 2000.âRenaissance Humanism.â The History Guide. Web.
Liedtke, Walter. 2011. âJohannes Vermeer.â Heilbronn Timeline of Art History. The Metropolitan Museum of Art. Web.
Pioch, Nicholas. 2002. âVermeer Jan.â WebMuseum, Paris. Web.