Friday, July 26, 2013
Tom is here for a visit. He and his wife first spent a few days in Amsterdam where they visited the Rijksmuseum. The hit of that visit was the four Vermeers, including The Milkmaid, which I have blogged here on several occasions.
Also in Amsterdam is The Little Street, another of my favorites (click to enlarge). It is unlike the other Vermeers I have blogged –- The Milkmaid, Woman Weighing Gold, The Geographer -– all closely observed interior scenes with a single human figure dominating the composition. Here the humans have been reduced to doll-like figures, faces averted -– a woman scrubbing, a woman sewing, two urchins playing on the stoop. What we do have is another exercise in close observation and quiet domesticity, the two things for which Vermeer is universally loved.
As I have said on previous occasions, I admire Vermeer for his Catholic attention to the materiality of the world, the is-ness of things. Whatever is transcendental in his paintings is sacramentally mediated through stuff. Surely, his stuff is there to be accumulated, as one might expect from a citizen of practical, acquisitive, Protestant Holland. But Vermeer sees through the surface of things to the mystery that lies within.
The Little Street is at first glance little more than a pile of bricks, but the bricks speak of an inner life. They bleed their lime. They crumble. They surrender at street level to a calligraphy of whitewash. The lines of perspective converge on a vanishing point deep inside those two dark windows, somewhere below the surface of the painting. The alley, too, hints of interiority.
Vermeer did not choose this scene because it was pretty; it has to the eye untouched by grace a proletarian dreariness about it. Rather, he takes ordinary matter –- brick, mortar, wood, lime, cloth –- and consecrates it with attention, this is my body, this is my blood. To the attentive eye, stuff speaks of its own transcendence, its infinite interiority. A pile of bricks is the journeywork of stars.