The young woman painted by
The Girl with a Pearl Earring's wordless utterance hints at an erotic come-on that novelists and filmmakers can't help guessing at. Was she his lover? His obscure object of desire?
Now this seductive painting in which Vermeer (usually such a restrained, cool, cautious artist) seems to indulge a secret passion, has a new, or rather reinvented, home. The masterpiece is better lit, better hung and more elegantly surrounded than ever at the refurbished and modernised Mauritshuis in
If the Rijksmuseum is bigger, it is the Mauritshuis collection that owns some of the most iconic Dutch masterpieces, from The Girl with a Pearl Earring to The Goldfinch by
Yet however much glitz and glamour surrounds some of the paintings, the Mauritshuis is above all a collection to lose yourself in, as you drift among the painted polders and anatomy theatres of the 17th-century
The museum's refurbishment is dramatic and tasteful, designed to turn a connoisseurs' collection into a pop destination, and it deserves to succeed at that. Its treasure house of Dutch Golden Age art is now reached by a very modern approach through a spacious underground lobby. One way leads to stylish cafes, shops and other facilities we expect nowadays. What does all this swankery add to the art collection of the princes of Orange housed here? It gives the place a sense of occasion - and the cafe really is very nice.
But past the new architectural prologue into the collection in the 17th-century house of Prince
Dutch painters four centuries ago used experimental techniques that make their paintings precociously modern in our eyes. The brushwork of
Rembrandt looks that bit deeper. His Anatomy Lesson of Dr Nicolaes Tulp contains a trap for the eye. Looking at the attentive faces of the men watching Tulp's lesson, your gaze is led irresistibly to the gory skinned arm of the grey corpse whose sinews and bones the anatomist is describing. The eye is drawn into a dark tunnel between the arm's exposed muscles - and into the body itself. Rembrandt leads the onlooker from the visible world to the invisible darkness within. What lies there?
You may as well ask what is going on inside all the houses whose sunlit rooftops Vermeer painted in about 1660 in his great View of Delft. Looking at his home town from its harbour, he ponders the image of the city gate reflected in still, deep waters. Clouds pregnant with menace glide above. People meet on the shore, posed like dolls.
Beyond the walls whose every detail Vermeer mirrors in shadowed and sunlit passages of mottled paint, beyond blank windows, a city is going about its business. People must be pouring milk, reading letters and pursuing girls with pearl earrings. But we can't see them. What is Vermeer's painting about? It seems to suggest the impossibility of doing justice to life's plenitude in art. It is a painting about the inadequacy of painting.
The relaunched Mauritshuis exquisitely combines the conveniences of a modern museum with the character of a collection and house that go back to the Dutch Golden Age itself. Yet the true reason to come here is to encounter some of the world's most profound works of art - and they never change.
Vermeer's Girl with a Pearl Earring at
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