Autobiography

Travels in Vermeer: A Memoir

“This publication is a treasure and a advisor. it's a form of therapeutic for the mind and the heart.” - (Rebecca Lee)

A lyrical and intimate account of the way a poet, in the course of a foul divorce, unearths comfort and style via viewing the work of Vermeer, in six international towns. in the course of a divorce (in which the custody of his younger daughter is at stake) and over the process a 12 months, the poet Michael White, travels to Amsterdam, The Hague, Delft, London, Washington, and manhattan to view the work of Johannes Vermeer, an artist keen about romance and the interior life.  he's astounded by way of how consoling it really is to seem heavily at Vermeer’s girls, on the artist’s courting to his matters, and at how composition displays again to the viewer such deep feeling. comprises the author’s very own research of Vermeer. via those travels and his encounters with Vermeer’s radiant imaginative and prescient, White unearths grace and private transformation.

"White brings [sensitivity] to his luminous readings of the work.  An captivating e-book concerning the transformative energy of art."  - (Kirkus Reviews) 

"… Figures it took a poet to get it this superbly, thrillingly right.” - (Peter Trachtenberg)

"A targeted dance between genres...clear and robust descriptions contact at the mysteries of seduction, loss, and the creative impulse."   - (Clyde Edgerton)

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I’m off around the misting heath, until eventually I come to the signal for the Kenwood condominium. The method of the property is a winding lane via dripping, rain-drenched woods. i am going via what seems to be the again door, get instructions to The Guitar participant, and stroll via room after room of not-quite dilapidated Victorian attractiveness. ultimately, simply previous the roped-off library (which has usually been a Merchant/Ivory movie set), I come to Lord Iveagh’s eating room. The floorboards are relatively worn, a piece squeaky, with a worn Ushak carpet. every thing within the room dates from 1800–1820, the majestic Regency chandelier striking underneath a ceiling excessive as a college cafeteria. Scarlet patterned velvet partitions, carved gilt curtain rods the scale of railroad ties. the center piece of the room is the long-lasting Rembrandt self-portrait of 1661; in truth, the curtains and partitions were color-matched to the blood-red tunic Rembrandt is donning. I learn the placard that tells how Rembrandt revised the self-portrait (painted in a replicate, as ordinary) via touching up his aged, poverty-stricken, matted photo later. He additionally “corrected” the mirrored photograph optically—switching the hand keeping the paintbrush from left to correct, for example. Then I flip towards my correct, towards the sunny home windows and the wall containing the Vermeer. There are twenty work within the room, whose gilt frames coordinate with the opposite furniture. The evident exception is The Guitar participant, with its matte-black body. yet even from around the room, the gilt body of the painting-within-the-painting stands proud in actual fact. It’s one other of the artist’s stylized but convincing gilt frames—hashed jointly of gold pointillés— that conveys a robust, intuitive influence of the minute info it truly lacks. the girl within the Guitar participant jogs my memory of the lute-player within the Met. either women glance to their correct, out of the portray, as they sit down and strum; the implication in either situations is they play for an absent yet in all likelihood close by lover. The lute-player gazes dreamily into the sunshine, her face illumined although the paint is worn; this lady glances clear of the sunshine, her face darkened but furious. the woman in ny concentrates as she tunes the lute—she turns out to gaze idly out the window, in any other case she gazes towards God and performs for Him. The guitar-player appears to be like towards one other, who's within the room listening together with her, and she or he performs for him. either ladies put on pearl rings and a similar fur-trimmed, yellow jacket. either sit down towards the left of the portray, however the guitar-player includes imbalance and asymmetry to an severe, and turns out to maneuver, to lean and switch as i glance, virtually as though Vermeer have been consciously rebelling opposed to the stillness and serenity of his personal paintings. it's a surprise, and but I realize the gnawing wish to do anything, something, another way from what one has performed before—to be somebody except what one has paid the associated fee to develop into. Her cheeks are flushed a gaudy, pinkish-orange. The hue turns out pointedly man made in comparison to the blush of the sooner women.

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