Object number1962.2
View of a Dutch Village with a Ruined Wall
Datec. 1660-1665
Artist
Daniel Vosmaer
(Dutch, active 1650-1666)
CultureDutch
MediumOil on wood panel
DimensionsUnframed: 25 3/16 x 20 7/8 in. (64 x 53 cm)
Framed: 27 3/16 x 31 1/8 x 3 1/8 in. (69 x 79 x 8 cm)
Framed: 27 3/16 x 31 1/8 x 3 1/8 in. (69 x 79 x 8 cm)
Credit LinePurchase, Agnes Rindge Claflin Fund
On View
On viewPeriod17th c
Classification(s)
Markings(backing removed during 1963 restoration; see file for labels returned to museum)
Bibliography“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.ProvenanceLaubinger, Salzburg. Boehler; Paul Cassirer & Co., Amsterdam;
purchased 1962 by VC Art Gallery.
Vassar Exhibitions
Exhibition HistoryNew 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.
Label TextIn this work, Daniel Vosmaer occupied the immediate foreground with a crumbling brick wall, forgoing the illusion of pictorial depth typically sought by seventeenth-century Dutch land and cityscape painters. The scene may represent the aftermath of the infamous gunpowder explosion of 1654 that occurred in the city of Delft, which Vosmaer depicted explicitly in other drawings and paintings. For the artist and his peers in the Netherlands, ruins that resulted from natural or manmade disasters often served as fodder for imagery that invited contemplation of trauma, memory, and time.
Object information is a work in progress and may be updated as new research findings emerge.
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