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end notes
Vermeer’s concert, the Gardner collection, and the art heist of the century
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[1] For an invaluable source of information on all aspects of Vermeer’s life and works, see http://www.essentialvermeer.com/catalogue/concert.html
[2] For speculation on the identity of the models used by Vermeer for this painting, see B Binstock, “Interiors and interiority in Vermeer: empiricism, subjectivity, modernism”, Palgrave Commun 3, 17068 (2017). https://doi.org/10.1057/palcomms.2017.68
[3] For more on the use of the viola da gamba, see our article on the Isenheim Altarpiece
[4] Hans Koningsberger, The World of Vermeer, Time-Life Library of Art, Netherlands, 1979, at 65, 75-6
[5] Koningsberger, op cit, note [3] at 157
[6] JM Montias, Vermeer and his Milieu: A Web of Social History, Princeton University Press, Princeton, 1989, at 122
[7] The relationship between Vermeer’s works and cinematography is discussed in Ann Hollander, Moving Pictures, Harvard University Press, London 1991, for example at 140-143
[8] Edwin Buijsen, "Music in the Age of Vermeer," in Donld Haks et al, Dutch Society in the Age of Vermeer, Wanderers Publishers, 1996, at 110; Amsterdam itself was also a centre for music publishing: Marjorie E. Weisman, Vermeer and Music: The Art of Love and Leisure National Gallery, London, 2013 at 22–24.
[9] B Binstock, op cit, note [1]
[10] Elizabeth Capel, “Money alone was not enough: Continued Gendering of Women’s Gilded Age and Progressive Era Art Collecting Narratives”. International Journal of Undergraduate Research and Creative Activities, 6(1), p.1, 2014. DOI: http://doi.org/10.7710/2168-0620.1013
[11] For the details of her life and works, see generally Douglass Shand-Tucci, The Art of Scandal, HarperPerennial, New York, 1997
[12] Shand-Tucci, op cit, note [10] at 168-9. Some accounts say $5,000
[13] Alan Chong, "The Concert," in Eye of the Beholder, ed Alan Chong et al, ISGM and Beacon Press, Boston, 2003, at 149
[14] Capel. op cit, note [9]
[15] Shand-Tucci, op cit, note [10] at197ff, 220ff
[16] Shand-Tucci, op cit [10] at 207
[17] For more on the design see Shand-Tucci, op cit, note [10] at 220ff. For details of the rooms of the Museum, see https://www.gardnermuseum.org/experience/rooms
[18] Shand-Tucci, op cit [10] at 213
[19] Shand-Tucci, op cit [10] at 219
[20] Shand-Tucci, op cit [10] at 196
[21] For a useful, non-exhaustive list of publications on the theft, see https://www.futilitycloset.com/2018/05/21/podcast-episode-201-the-gardner-heist/
[22] Alex Beam “Mrs Gardner’s annual claim on heaven”, The Boston Globe, 19 April 1995 http://mcnsarticles.blogspot.com/2003_11_09_archive.html
© Philip McCouat, 2022
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[1] For an invaluable source of information on all aspects of Vermeer’s life and works, see http://www.essentialvermeer.com/catalogue/concert.html
[2] For speculation on the identity of the models used by Vermeer for this painting, see B Binstock, “Interiors and interiority in Vermeer: empiricism, subjectivity, modernism”, Palgrave Commun 3, 17068 (2017). https://doi.org/10.1057/palcomms.2017.68
[3] For more on the use of the viola da gamba, see our article on the Isenheim Altarpiece
[4] Hans Koningsberger, The World of Vermeer, Time-Life Library of Art, Netherlands, 1979, at 65, 75-6
[5] Koningsberger, op cit, note [3] at 157
[6] JM Montias, Vermeer and his Milieu: A Web of Social History, Princeton University Press, Princeton, 1989, at 122
[7] The relationship between Vermeer’s works and cinematography is discussed in Ann Hollander, Moving Pictures, Harvard University Press, London 1991, for example at 140-143
[8] Edwin Buijsen, "Music in the Age of Vermeer," in Donld Haks et al, Dutch Society in the Age of Vermeer, Wanderers Publishers, 1996, at 110; Amsterdam itself was also a centre for music publishing: Marjorie E. Weisman, Vermeer and Music: The Art of Love and Leisure National Gallery, London, 2013 at 22–24.
[9] B Binstock, op cit, note [1]
[10] Elizabeth Capel, “Money alone was not enough: Continued Gendering of Women’s Gilded Age and Progressive Era Art Collecting Narratives”. International Journal of Undergraduate Research and Creative Activities, 6(1), p.1, 2014. DOI: http://doi.org/10.7710/2168-0620.1013
[11] For the details of her life and works, see generally Douglass Shand-Tucci, The Art of Scandal, HarperPerennial, New York, 1997
[12] Shand-Tucci, op cit, note [10] at 168-9. Some accounts say $5,000
[13] Alan Chong, "The Concert," in Eye of the Beholder, ed Alan Chong et al, ISGM and Beacon Press, Boston, 2003, at 149
[14] Capel. op cit, note [9]
[15] Shand-Tucci, op cit, note [10] at197ff, 220ff
[16] Shand-Tucci, op cit [10] at 207
[17] For more on the design see Shand-Tucci, op cit, note [10] at 220ff. For details of the rooms of the Museum, see https://www.gardnermuseum.org/experience/rooms
[18] Shand-Tucci, op cit [10] at 213
[19] Shand-Tucci, op cit [10] at 219
[20] Shand-Tucci, op cit [10] at 196
[21] For a useful, non-exhaustive list of publications on the theft, see https://www.futilitycloset.com/2018/05/21/podcast-episode-201-the-gardner-heist/
[22] Alex Beam “Mrs Gardner’s annual claim on heaven”, The Boston Globe, 19 April 1995 http://mcnsarticles.blogspot.com/2003_11_09_archive.html
© Philip McCouat, 2022
Return to HOME