Category Archives: The Real Johannes Vermeer

The real life person of the famous Dutch painter, Johannes Vermeer, and his wife Catharina, his daughters and the role these women played in his paintings.


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“Much like Leonardo da Vinci, I worked intermittently on this single painting over a period of many years, never satisfied that it was finished, and continually improving upon the original.  This painting is my personal Mona Lisa, my daughter, Maria.

We had a live-in servant for many years, named Tanneke Everpoel, hired and paid by Maria Thins.  She did all of the “heavy labor”, as it were: cooking, cleaning, washing clothes, carrying water, tending fires, and a myriad other chores, including helping with the children.  However, the expense of paying her wage and room did not include standing for endless hours, day after day, while I painted this portrait!  My daughter, Maria, was lovelier and much more readily accessible for the task of standing for this portrait.

It is argued, convincingly, that the immortal painting by Leonard was his own self-portrait as his own, feminine  reflection. What man, or woman, regardless of sexual preference in a given lifetime, has not inhabited the flesh of ten thousand bodies, some human, many not, through  a nearly infinite cascade of galaxies, stars and planets come and gone.  Is not survival a nearly infinite game, in which we interchange ourselves as the players of many parts?

Leonard kept his portrait with him all his life.  He never considered that it was complete or perfect.  Nor did he ever intend to sell it.  How could one sell a most cherished reflection of himself?  It is more meaningful than one’s own body, which only disguises the inner self, the essence of spirit that animates the fragile flesh.

In fact, a body hides the reflection of the soul!  How can any substance, especially that as rude and fragile as meat, reveal the inherent qualities an immortal nothingness?  Indeed, it is the fundamental challenge and the most formidable task of an artist to reveal it!

The name given to this painting by others, “The Milkmaid”, is a sacrilege!   It rivals the incomprehension others have for Leonardo’s personal masterpiece.  Yet, how can anyone truly understand that a painting is meant to reflect the  essence of an immortal being, seen through the eyes of another?

She is painted with angelic colors: blue, gold and white, in contrast to the menial nature of her station in life.  From her issues, for me, the Milk and Bread of Life.  Life is embodied in her and through her.  Women, are the source of children, the source of energy, the source of care.  There is no more vital responsibility for any being who plays the game of life, than to confront dreary daily tasks.  To humbly make the daily loaf.  To soak that bread, mix and soften it with milk, make it warm and feed it to a teething child.  Survival is made of such things.

In those days I viewed life as idyllic.  My dreams were more real than reality.  All things were a possibility.  Tragedy could not find me.  Until it did, of course.  Even when we lost a child, which we did with several, my wife, Catharina, remained resolute in her Faith.  God guided us.  He did what was best.  We knew not why and need not question His purpose for us.

I have no such faith in predetermination.  A loaf of grain, clean water and a bed was my fare.  Time and a place to paint, uninterrupted, were necessities.  My love, shared with wife and family, was the staple diet of my life.  I assumed, as a Fool who knows not his own mortality, that they would endure, even when I was gone.”


Excerpt from the book VERMEER: PORTRAITS OF A LIFETIME, by Lawrence R. Spencer




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“I am very sure that my new book, Vermeer: Portraits of A Lifetime, will be considered by many people to be delusional or heretical.  Many will dismiss my observations and comments because they don’t follow the dictates of  “authoritative research” or the opinions of art “experts”.

This book may threaten persons who have a financial vested interest in the Vermeer paintings that still exist today, as their livelihood or financial well-being depend to some degree on the value currently assigned to the paintings.

Although the monetary value of Vermeer’s paintings have been vastly inflated, in part, due to the mystique created by authorities or speculators, it is not my intention to devaluate them. It is not my intention to invalidate property that was sold or bartered by Vermeer and his wife, Catharina, hundreds of years ago.  Quite the contrary.

My intention is to honor the lives of Johannes, Catharina, their eleven surviving children and Maria Thins, his mother-in-law and patroness.

This book does not represent or endorse any financial, spiritual, religious, political organization or practice or philosophy of any kind.  All personal observations and opinions offered by the author herein are purely and solely personal opinions, with no other source than those noted in the footnotes or appendix.

Any and all individuals or organizations from whom research and/or opinions have been borrowed or sited for referential purposes in this book are not affiliated with and do not in any way acknowledge the validity of or endorse the findings or assertions of the author or publisher of this book.

Finally, this book is not intended for people who have a vested interest, or who “know best”.  Personal observations, whether visual, empathetic or conjectural, of the author about the life and death of Vermeer, 300 years after the fact, are wholly subjective.”

Vermeer: Portraits of A Lifetime

Paperback book —     Support independent publishing: Buy this e-book on Lulu.



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Vermeer This book is available on your iPhone, iPad, or iPod touch with iBooks and on your computer with iTunes.

“Vermeer: Portraits of A Lifetime” is a revolutionary re-examination of the mystique and mythology surrounding the 17th Century Dutch Master painter, Johannes Vermeer. For the first time in over 300 years names of people who posed for his paintings are identified. An unknown portrait of Vermeer, painted by his friend, Gerard ter Borch, is exposed. This book is an empathetic retrospective, built on observations that reveal answers to dozens of speculations about his paintings, his wife, his daughters, and contemporaries who were the subjects of his art, and with whom he shared his brief life in Delft.



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Recasting The Girl, Spray-Painting The Pearl

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I will not soon forget seeing the horrendous Hollywood movie titled, “The Girl With A Pearl Earring” in 2004.  It is a fictional depiction of a fictionalized relationship between Vermeer and an imagined “…young peasant maid working in the house of painter Johannes Vermeer becomes his talented assistant and the model for one of his most famous works.” It was nominated for 3 Oscars by the Academy of Motion Picture “arts” and “sciences”.

This tragically tacky spin on the life of Vermeer is classic Hollywood magic:  take the true life story of a teen-age daughter of one of the finest painters in history, re-cast her as whore, and her father as an brutish ogre, spray-paint her naturally luminescent pearl earring with glitter glue and, presto! Nominate it for an Oscar!

Absurdly cliché characterizations contrived by the brain-dead writers invent a  debased relationship between a fictional “peasant maid” and Vermeer that are typical of the money-motivated Hollywood swill fed to and gobbled up by an uneducated  public.  The socially redeeming value of this food for swine (to be polite) is a pile of steaming shit!  Sexual intrigue may sell movie tickets, but pigs are stupid, and shit stinks.

The writers, producers and actors associated with this morose movie would have been more kind to Vermeer, his family and his artistic legacy if they had spent the budget for the film to visit the museums of the world, in which his priceless works hang, and spray them with graphic graffiti.

The film was written and directed without regard for historic fact or common sense.  The preposterous personae of Vermeer was portrayed by the British actor, Colin Firth, with the charisma of a cardboard cereal box.  Scarlett Johansson, who plays the role of the gawkish “girl”, is garish at best.

The premise of the ludicrous book and movie script, entirely ignores and abuses the obvious, and thoroughly researched historical information about Vermeer and his life.  A few of the grossest omissions are:

1) All of the women in the Vermeer paintings, with one or two minor exceptions, are his wife, and daughters.  To postulate that he hired a “peasant maid”, or that he had a painting assistant, much less that he had a sexual  relationship with such an imaginary person, are sick contrivances.

2) That the Vermeers could afford to pay a servant, who could spare the time away from vitally needed chores, to become an artists assistant, is blatantly stupid.  Household helpers were not something they could afford, except early in their marriage, at best.  Some of the thoroughly researched facts about Vermeer were that he and his wife produced 15 children in 22 years!  They lived in the small village of Delft, with his wife’s very Catholic mother, in her small house, to help reduce expenses.  He died from overwhelming depression due to his inability to support his wife and 11 surviving children, who were left in extreme poverty at his premature death at the age of 43.

In a plea to her creditors after her husband’s death Catharina stated, in the public record, the final footnotes to Vermeer’s brief life:

“during the ruinous war he not only was unable to sell any of his art but also, to his great detriment, was left sitting with the paintings of other masters that he was dealing in.”

Catharina summarized the circumstances of his death: “as a result and owing to the great burden of his children, having no means of his own, he had lapsed into such decay and decadence, which he had so taken to heart that, as if he had fallen into a frenzy, in a day or day and a half had gone from being healthy to being dead.”

Obviously, the man she describes is the antithesis of the man portrayed in the movie.

3)  That a woman would be allowed to become an artists apprentice or assistant,  is an absurd fantasy.  It was forbidden by the Guild of St. Luke which maintained strict, Puritanical oversight of the activities of every member.

girl_with_pearl_earring_blog4) The girl in the legendary painting (as well as in several other of his paintings) is his second daughter, Elizabeth!  Vermeer never hired models — he painted only family and friends.  It doesn’t take a cosmetic surgeon to compare the features of the women in the majority of his paintings to observe that the same women are being painted in their own home, again and again in different poses, settings, lighting and clothing.  Most of his paintings feature his wife, Catharina, who was not only his constant accomplice in creating a family, she was his foremost ally in his life as an artist!

The paintings named (by others), “girl with a pearl earring”, as well as “the girl with a red hat”, and “the girl with a flute”, and others, are all of his second daughter, Elizabeth, who was a teenager when they were painted.  He used her as the model for a series of very small “tronie” or facial portraits, which were popular at the time.

These miniature “head shots” were especially well suited to the use of the camera obscura to create what we know now to have a photographic quality, rendering the light and perspective differently than the unaided lens of the human eye perceives it.

The women in his family, during his lifetime, enjoyed dressing in the finest clothes and jewelry available to them, as well as exotic costumes, imitating the apparel of mysterious lands.  Many of the accessories included in these paintings were borrowed.  Trading vessels often brought fascinated news and relics to Delft from around the world.  He and his family rarely ventured more than a short walk or boat ride from home.

That Vermeer would have an elicit affair with a maid in his own home is an insult to common sense and decency.  Anyone who looks at paintings of his wife and nine daughters can plainly see his obvious love and devotion — if not  obsession — for the women in the small house they shared.  Vermeer’s family  permeated every aspect of his life, and dominated his home.

His days were consumed with his work with the Guild of St. Luke, the militia of Delft, and interaction with other painters for whom, like his father before him, he sold their paintings to earn money to feed and clothe his 15 children. As his family grew, Vermeer barely had time work on his own paintings!

That there was ever any enmity or discord between Johannes and Catharina during their lives is a fantasy contrived by the Hollywood money machine that perverts reality to appeal to the lowest common denominator of prurient interest suitable only for soap operas, pornography, and girl-gossip magazines.

The self-proclaimed “artists” of Hollywood, driven by money mongers, like any mindless mercenary who act the part they’re paid for, notoriously devoid of ethics or integrity, are akin to any common soldier who massacres innocent civilians, and justifies their crimes in the name of war.

Vermeer, in this movie, and in his own lifetime, was a victim of brainless  brutality.  The stupid soldiers of Louis XIV of France who invaded Holland, together with the bloody British aristocracy combined to murder peasants, and plunder goods to enrich and glorify themselves.  The net result for Vermeer was attested, after his death, by his wife, Catharina Bolnes, “during the ruinous war he not only was unable to sell any of his art but also, to his great detriment, was left sitting with the paintings of other masters that he was dealing in.” And further, “as a result and owing to the great burden of his children, having no means of his own, he had lapsed into such decay and decadence, which he had so taken to heart that, as if he had fallen into a frenzy, in a day or day and a half had gone from being healthy to being dead.”

Let us hope, sincerely, that those unfortunates who saw this “ruinous movie” can assess for themselves the denigrating massacre of an artist by Hollywood, compared with his own biographical portraits of a lifetime and the family he adored, magnificently embodied in his paintings, to judge for themselves the aesthetic intention and ethical integrity of the man, Vermeer.

— Lawrence R. Spencer