Dutch, active 1650-1666
View of a Dutch Village with a Ruined Wall, c. 1660-1665
Oil on wood panel
Purchase, Agnes Rindge Claflin Fund
Dimensions: Framed: 27 1/8 x 31 1/4 x 3 in. (68.9 x 79.38 x 7.62 cm)
Unframed: 25 1/4 x 20 7/8 in. (64.14 x 53.02 cm)
Signatures, Inscriptions and Markings v
(backing removed during 1963 restoration; see file for labels returned to museum)
Laubinger, Salzburg. Boehler; Paul Cassirer & Co., Amsterdam; purchased 1962 by VC Art Gallery.
Published References v
Artist's dates are according to the Metropolitan Museum exhibition catalogue, Vermeer and the Delft School, 2001;
“Recent Accessions of American and Canadian Museums,” Art Quarterly, vol. XXV, no. 4 (Winter 1962), p. 407, repr. p. 399;
Donahue, Susan, “Daniel Vosmaer,” Vassar Journal of Undergraduate Studies, vol. 19 (Winter 1964), pp. 18-27, repr. pl. 1;
Faison, S. Lane, Jr., Art Tours and Detours in New York State (New York: Random House, 1964), p. 231, repr. fig. 356;
Vassar College Art Gallery: Selections from the Permanent Collection (Poughkeepsie: Vassar College Art Gallery, 1967), p. 18;
Vassar College Art Gallery: Paintings 1300-1900 (Poughkeepsie: VC Art Gallery, 1983), p. 116, repr.;
Liedtke, Walter, with Michiel C. Plomp and Axel Rüger, Vermeer and the Delft School (New York: Metropolitan Museum of Art, 2001), p. 423-4, repr.;
Kuretsky, Susan Donahue, Time and Transformation in Seventeenth-Century Dutch Art (Poughkeepsie: Trustees of Vassar College, 2005), pp. 196-99, repr. p. 198 (color) and cover.
Sutton, Peter, Vermeer and the Delft Style (Japan: Random House Kodansha Co. Ltd., 2008), p. 111); Mundy, James, The Frances Lehman Loeb Art Center: Vassar College The History and Collection (New York: Prestel Publishing, 2007), p. 50 repr.
Nogrady, Elizabeth, Joanna Sheers Seidenstein, Mia M. Mochizuki, ed., Inspired: Essays in Honor of Susan Donahue Kuretsky (Poughkeepsie: The Frances Lehman Loeb Art Center, 2018), p.12, repr.
Exhibition History v
New York, NY, The Metropolitan Museum of Art, "Vermeer and the Delft School," March 5, 2001- May 27, 2001; London, England, The National Gallery, June 20, 2001-September 16, 2001;
Poughkeepsie, NY, FLLAC, Vassar College, "An Exhibition in Memory of Agnes Rindge Claflin 1900-1977," April 30 - June 4, 1978;
Poughkeepsie, New York, FLLAC, Vassar College, "Time and Transformation in Seventeenth-Century Dutch Art", April 8-June 19 2005. catalog no. 44;
Tokyo, Japan, Metropolitan Art Museum, "Vermeer and the Delft Style" August-December 2008;
Williamstown, Williams College Museum of Art, “Williams-vassar Exchange Exhibition,” February 28-March 18, 1966;
Northampton, MA, Smith College Museum of Art, June 20, 1991-May 6, 1993 (extended load);
Delft, Netherlands, Stedelijk Museum Het Prinsenhof, Gemeente Musea Delft, “Delft Masters: Contemporaries of Vermeer,” March 1-June 9, 1996;
New York, NY, Metropolitan Museum of Art, “Vermeer and the Delft School,” March 5-May 27, 2001 (London, National Gallery, June 20-September 16, 2001). Cat. no. 87, repr.;
Poughkeepsie, NY, FLLAC, Vassar College “Time and Transformation in Seventeenth-Century Dutch Art,” April 8-June 19, 2005 (Sarasota, John and Mable Ringling Museum of Art, August 20-October 30, 2005; Louisville, The Speed Art Museum, January 10-March 26, 2006). Cat. no. 44, repr.
Rome, Italy, Scuderie del Quirinale, "Vermeer, Il secolo d'oro dell'Arte olandese," September 27, 2012-January 20, 2013;
Poughkeepsie, NY, FLLAC, Vassar College, "Master Class: Northern European Art 1500-1700 from the Permanent Collection," April 27-September 2, 2018.
Daniel Vosmaer was a native of Delft and painted in that city for almost his entire career. According to documents, he moved from Delft to the town of Den Briel in 1665/66. Vosmaer survived the horrific ‘Delft Thunderclap’ of 12 October 1654, when eighty to ninety thousand pounds of gunpowder exploded in an underground depot, leveling or damaging hundreds of houses and killing scores of residents. The aftermath of the explosion pro- vided local artists, including Vosmaer, with an unexpected subject matter. Vosmaer painted both portrayals of the explosion itself and more lyrical scenes of the activities of daily life restored to the partly ruined town. While there are no specific landmarks to support the supposition, it certainly appears as if the artist took this broken wall and its adjoining house as a cre- ative visual element against which to situate the once more verdant town parklands. His use of the wall as both barrier and introduction to the scene is a clever compositional device and also a poetic reference to time, trans- formation, and the folly of man’s enterprises on earth.