The location of The Little Street in Delft is Vlamingstraat 40-42, 150-200 meters behind The Nieuwe Kerk.<\/strong><\/p>\n\n\n\nThe house that Vermeer painted with exquisite precision belonged to his widowed aunt, Ariaentgen Claes van der Minne, or Ariaantje. The Little Street houses were less than 200 meters from where he was born.<\/p>\n\n\n\n
This finding offered a new perspective on Vermeer and what inspired him. After marrying Catharina Bolnes, Vermeer moved to a much more affluent neighborhood and higher social circles. Following his marriage, Vermeer seemed to have distanced himself from this family since he named none of his fifteen children after his father and mother. <\/p>\n\n\n\n
However, in selecting his aunt’s house as the inspiration for The Little Street, Vermeer returned to his youth<\/strong>. The serenity and warmth of the painting show us that Vermeer did not renounce his background at all. Instead, he lovingly painted the world of his childhood; he was coming home. <\/p>\n\n\n\n<\/p>\n\n\n\n\n <\/figure>\n\n\n\n <\/figure>\n<\/figure>\n\n\n\n<\/p>\n\n\n\n
6. Where Did Vermeer Paint His View Of Delft?<\/h2>\n\n\n\n Vermeer’s fabulous technique and the poetic atmosphere he evokes have an overwhelming impression on many. It is as if you can almost hear the silence of his paintings. Marcel Proust found Vermeer’s View of Delft<\/em>, the most beVermeer’sainting in the world. <\/strong><\/p>\n\n\n\nThe overwhelming effect of View of Delft <\/em>is not created by a representation of reality. Instead, Vermeer painted the suggestion of it. <\/p>\n\n\n\nIf you stand at the Hooikade, where Vermeer painted his View of Delft, you will notice that the skyline of Delft is smaller in reality (see above) than in the painting. This is because Vermeer presented an image of the world without an opinion. It is up to you, the viewer of this painting, to bring it to life with your existence and activities.<\/strong><\/p>\n\n\n\n<\/p>\n\n\n\n
Vermeer’s work is about connecting the world and our meaningful existence<\/span><\/p>\n\n\n\n<\/p>\n\n\n\n
Vermeer’s work is about connecting the world and our meaningful existence. The existence and actions of humankind, not God, create the world. That was, of course, a revolutionary thought at the time. The message of the View of Delft is that humans have to create their world and reality.<\/strong><\/p>\n\n\n\nTherefore, it is fitting that the view of Delft, painted by Vermeer, was also the view of the Pilgrims traveling from Leiden to Delfshaven a few decades earlier. The Pilgrims were going to the New World to create their new world and reality. That was an excellent example of how the actions of humans change the world. <\/p>\n\n\n\n
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7. How Many Paintings Of Vermeer Exist?<\/h2>\n\n\n\n Johannes Vermeer painted probably less than 60 paintings in his life, of which 36 paintings survived. In the table below, I have listed the 36 paintings Vermeer experts are confident that Johannes Vermeer himself created them. <\/strong><\/p>\n\n\n\n<\/p>\n\n\n\nNr.<\/th> Painting<\/th> Year<\/th><\/tr><\/thead> 1<\/strong><\/td>Diana and her companions<\/td> 1653 – 1656<\/td><\/tr> 2<\/strong><\/td>Christ in the House of Martha and Mary<\/td> 1654 – 1656<\/td><\/tr> 3<\/strong><\/td>The Procuress<\/td> 1656<\/td><\/tr> 4<\/strong><\/td>A Maid Asleep<\/td> 1656 – 1657<\/td><\/tr> 5<\/strong><\/td>Girl Reading a Letter at an Open Window<\/td> 1657 – 1659<\/td><\/tr> 6<\/strong><\/td>Officer and Laughing Girl<\/td> 1657 – 1660<\/td><\/tr> 7<\/strong><\/td>The Milkmaid<\/td> 1657 – 1661<\/td><\/tr> 8<\/strong><\/td>Girl Interrupted in her Music <\/td> 1658 – 1661<\/td><\/tr> 9<\/strong><\/td>The Glass of Wine<\/td> 1658 – 1661<\/td><\/tr> 10<\/strong><\/td>The Little Street<\/td> 1657 – 1661<\/td><\/tr> 11<\/strong><\/td>The Girl with a Wine Glass<\/td> 1659 – 1662<\/td><\/tr> 12<\/strong><\/td>View of Delft<\/td> 1660- 1663<\/td><\/tr> 13<\/strong><\/td>The Music Lesson<\/td> 1662 – 1665<\/td><\/tr> 14<\/strong><\/td>Woman with a Lute<\/td> 1662 – 1665<\/td><\/tr> 15<\/strong><\/td>Young Woman with a Water Pitcher<\/td> 1662 – 1665<\/td><\/tr> 16<\/strong><\/td>Woman in Blue Reading a Letter<\/td> 1662 – 1665<\/td><\/tr> 17<\/strong><\/td>Woman with a Pearl Necklace<\/td> 1662 – 1665<\/td><\/tr> 18<\/strong><\/td>Woman Holding a Balance<\/td> 1662 – 1665<\/td><\/tr> 19<\/strong><\/td>The Concert<\/td> 1663 – 1666<\/td><\/tr> 20<\/strong><\/td>A Lady Writing<\/td> 1662 – 1667<\/td><\/tr> 21<\/strong><\/td>The Art of Painting<\/td> 1662 – 1668<\/td><\/tr> 22<\/strong><\/td>Girl with a Pearl Earring<\/td> 1665 – 1667<\/td><\/tr> 23<\/strong><\/td>Girl with a Red Hat<\/td> 1665 – 1667<\/td><\/tr> 24<\/strong><\/td>Mistress and Maid<\/td> 1666 – 1666<\/td><\/tr> 25<\/strong><\/td>Girl with a Flute<\/td> 1665 – 1670<\/td><\/tr> 26<\/strong><\/td>Study of a Young Woman<\/td> 1665 – 1672<\/td><\/tr> 27<\/strong><\/td>The Astronomer<\/td> 1668<\/td><\/tr> 28<\/strong><\/td>The Geographer<\/td> 1668 – 1669<\/td><\/tr> 29<\/strong><\/td>The Love Letter<\/td> 1667 – 1670<\/td><\/tr> 30<\/strong><\/td>A Young Woman Seated at the Virginals<\/td> 1670<\/td><\/tr> 31<\/strong><\/td>The Lacemaker<\/td> 1669 – 1671<\/td><\/tr> 32<\/strong><\/td>The Guitar Player<\/td> 1670 – 1673<\/td><\/tr> 33<\/strong><\/td>Lady Writing a Letter with her Maid<\/td> 1670 – 1671<\/td><\/tr> 34<\/strong><\/td>A Lady Standing at a Virginal<\/td> 1670 – 1674<\/td><\/tr> 35<\/strong><\/td>A Lady Seated at a Virginal <\/td> 1670 – 1675<\/td><\/tr> 36<\/strong><\/td>Allegory of Faith<\/td> 1670 – 1674<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<\/p>\n\n\n