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Johannes Vermeer, one of the greatest Dutch painters and for some the single greatest painter of all, produced a remarkably small corpus of work. In Vermeer's Family Secrets, Benjamin Binstock revolutionizes how we think about Vermeer's work and life. Vermeer, The Sphinx of Delft, is famously a mystery in art: despite the common claim that little is known of his biography, there is actually an abundance of fascinating information about Vermeer’s life that Binstock brings to bear on Vermeer’s art for the first time; he also offers new interpretations of several key documents pertaining to Vermeer that have been misunderstood. Lavishly illustrated with more than 180 black and white images and more than sixty color plates, the book also includes a remarkable color two-page spread that presents the entirety of Vermeer's oeuvre arranged in chronological order in 1/20 scale, demonstrating his gradual formal and conceptual development. No book on Vermeer has ever done this kind of visual comparison of his complete output. Like Poe's purloined letter, Vermeer's secrets are sometimes out in the open where everyone can see them. Benjamin Binstock shows us where to look. Piecing together evidence, the tools of art history, and his own intuitive skills, he gives us for the first time a history of Vermeer's work in light of Vermeer's life.
On almost every page of Vermeer's Family Secrets, there is a perception or an adjustment that rethinks what we know about Vermeer, his oeuvre, Dutch painting, and Western Art. Perhaps the most arresting revelation of Vermeer's Family Secrets is the final one: in response to inconsistencies in technique, materials, and artistic level, Binstock posits that several of the paintings accepted as canonical works by Vermeer, are in fact not by Vermeer at all but by his eldest daughter, Maria. How he argues this is one of the book's many pleasures.
- Sales Rank: #2426498 in Books
- Published on: 2008-12-11
- Original language: English
- Number of items: 1
- Dimensions: 10.10" h x 1.10" w x 7.20" l, 2.55 pounds
- Binding: Hardcover
- 428 pages
Review
"Binstock resembles the detective Hercule Poirot in his methodical disentangling of the historical Vermeer from the accretion of too generous attributions and from the multiplicity of critical views, all directed to the uncovering of the artist whose autobiographical immersion in Delft, in home, and in family so fully constituted his art."―Richard Brilliant, Columbia University, author of Portraiture and My Laocoön: Alternative Claims in the Interpretation of Artworks
"Impassioned and fascinating, this novel account of the intimate links between Vermeer’s art and life bristles with intelligence. It offers not only sympathetic and imaginative readings of the paintings, but questions some basic assumptions in art history. Anyone interested in Vermeer will be struck by Binstock’s audacity, erudition, and deep love of art."―Martha Hollander, Hofstra University, author of An Entrance for the Eyes: Space and Meaning in Seventeenth-Century Dutch Art
"Vermeer's Family Secrets is a highly original and searching account of one of the most elusive of painters. Written with delightful verve, visual subtlety, and the courage to upend the platitudes and received wisdom of certain forms of art history, Binstock's book promises a revolution in the study of Vermeer, his circule, and his milieu."―Jonathan Gilmore, Yale University, author of The Life of a Style: Beginnings and Endings in the Narrative of Art History
"This book offers strong, informed opinions, bold claims, and precise chronology about one of art history’s favorite painters. While Binstock’s forceful arguments are sure to be controversial, they will inevitably provoke fresh scholarly discussion and rekindle close examination of Vermeer’s luminous pictures (and those of Carel Fabritius)."―Larry Silver, University of Pennsylvania, author of Hieronymus Bosch and Rembrandt’s Faith (co-authored with Shelley Perlove)
About the Author
Benjamin Binstock earned his Ph.D. in Art History at Columbia University, after study in Aix-en-Provence, Berkeley, Berlin, and Amsterdam. He was a visiting member of the Institute for Advanced Studies at Princeton and the American Academy of Berlin, and has taught at Columbia, New York University, CUNY, and presently at Cooper Union in downtown Manhattan.
Most helpful customer reviews
2 of 6 people found the following review helpful.
The World of Vermeer
By Christian Schlect
A book more likely to be enjoyed by the author's fellow art historians and students than the non-academic reader who only admires great art.
The young scholar Benjamin Binstock writes with remarkable enthusiaum and deep knowledge while strongly asserting his numerous convictions, which include the suprising one that a Vermeer daughter--not the father--was responsible for several key paintings heretofore attributed to Johannes Vermeer, including "Girl with a Red Hat."
Showing his youth, Dr. Binstock types likely art historian skeptics to his theory as "magpies" or "ostriches." It will be interesting to see, as time unfolds, whether other Vermeer experts adopt Dr. Binstock's novel convictions.
Meanwhile, the whole intellectual kitchen sink is thrown into this book from the details of Vermeer's actual home, to Rembrandt, to Hieronymus Bosch, to religion, to etc. etc. (And, "didactics" is a word that apparently must be used by anyone writing about art.) While at times very interesting, this was simply a tough book for me to read from cover to cover.
If you are quite interested in the detailed history of Vermeer's art, this is a book for you to purchase. For all others, just buy a nice conventional art book of this master's (or his daughter's?) beautiful paintings.
As an aside, I think the author's dust jacket photograph (in shadow and light) was inspired by the self-portrait of Rembrandt on page 252.
8 of 9 people found the following review helpful.
fascinating, readable, informative
By R Brooks
I found this book fascinating, readable and very informative. Binstock has a genuinely fresh perspective on both a star of the art world and the process by which such stars are made. I admire his ability to step away from standard wisdom and reconsider, for instance in being the first Vermeer scholar to attempt a chronological ordering of his work. He tries to explain inconsistencies others have left unexplained; no one can be correct 100% of the time but at least he is trying, and I enjoy following his reasoning.
The portait of Vermeer's family life, including the revelation of the identity of the "unknown apprentice", is immensely interesting and lots of fun. On the whole I find Binstock's conclusions very plausible. They may upset some but his path to them is authentic and he does an excellent job backing them up.
I think this is a good book for anyone who wants to learn about Vermeer as well as enjoy his paintings. Through his eloquence, his passion for his subject and an remarkable knack for identifying, connecting and making sense of critical detail, Binstock encourages us to grasp the whole of the man and the artist as best we can. To him, Vermeer and other artists are fit objects of passion and vital interest for anyone who has been moved by the works. I am not an art historian but I felt the respect the author has for me as someone who (like him) loves Vermeer.
4 of 5 people found the following review helpful.
The Pinnacle of Vermeer Studies
By Michael Prete
Binstock has done what most art historians have failed to do in the past: apply rigorous scholarship into a fun, amusing, tour de force read. He has combined the canonical works on Vermeer and taken them one step further, presenting convincing arguments that piece together a plausable history of the "Sphinx of Delft."
The other reviews here unfairly portray the book as academic, but anyone with an interest in Vermeer, art history or art in general would be fascinated by the conclusions made, and the methods used along the way.
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