Art

Vermeer's Love Letters

The theme of writing and receiving letters, a subject that recurs frequently in the work of Johannes Vermeer, is given dramatic tension in three iconic paintings in which elegantly dressed women eagerly await correspondence, subtly hinting at themes of love and longing.

Centered on the motif of letter writing, this book unites three iconic Vermeer paintings—Mistress and Maid (The Frick Collection), The Love Letter (Rijksmuseum), and Woman Writing a Letter, with Her Maid (National Gallery of Ireland)—delving into the enigmatic allure of the Dutch painter's work. Vermeer’s artistry is renowned for encapsulating moments of intrigue and intimacy amidst the domestic scenes of Dutch life. Through masterful manipulation of light and perspective, he imbues his paintings with symbolic depth, exploring themes of communication, secrecy, and emotional connection.

Through meticulous analysis, this publication explores the profound thematic undercurrents binding these masterpieces, shedding light on Vermeer’s legacy and his ability to capture moments of intimacy with unparalleled depth. Examining the implied and explicit meanings of the works, the publication offers a scholarly dialogue between past and present interpretations, questioning whether the works serve as complex allegories or straight-forward depictions of Dutch upper-middle-class life. Additionally, other paintings by Vermeer, Gerard ter Borch, Gabriel Metsu, and Rembrandt are explored, addressing the relevance of their comparable images and offering a fresh perspective on the enduring relevance of Vermeer’s artistry.

About The Author

Robert Fucci is a specialist in seventeenth-century Dutch and Flemish art, a lecturer in art history at the University of Amsterdam, and a contributor to the exhibition catalogue Vermeer: On Reflection (2021).

  • Publish Date: April 29, 2025
  • Format: Hardcover
  • Category: Art - Individual Artists - Monographs
  • Publisher: Rizzoli Electa
  • Trim Size: 7-1/4 x 9-3/4
  • Pages: 96
  • US Price: $37.50
  • CDN Price: $50.00
  • ISBN: 978-0-8478-4594-1

Reviews

"In taking up the motif of the exchange of letters, Vermeer and his contemporaries explored and imagined the inner lives and emotions of their painted subjects, often creating enigmatic narrative scenes. Of about three dozen surviving works by Vermeer, six are variations on this theme. The three works united in the exhibition share a particular focus on women in the domestic sphere: ladies and their maidservants. The complex relationships, tensions, and trust between these two social classes—domestic servants and their employers—is a topic linked to and exemplified by the writing, reading, and delivery of letters. Fucci examines these ideas in the literary and artistic contexts of Vermeer’s time. The display of the three works brought together in Vermeer’s Love Letters captures the artist’s ability to portray themes of everyday life with nuance, variety, and drama. The exhibition catalogue by Fucci provides a close examination of the three paintings in this show and of the motif of letter writing in Vermeer’s oeuvre and the broader cultural context of the time. Through meticulous analysis, Fucci presents the thematic undercurrents that connect these masterpieces, shedding light on Vermeer’s legacy and his ability to capture moments of intimacy with unparalleled depth." — ART HISTORY NEWS

"Organized around three intimate paintings of women reading and writing, this book draws readers into the world of domestic Dutch interiors, coded gestures and painterly mystery. The volume brings together works from the Frick Collection, the Rijksmuseum and the National Gallery of Ireland and includes essays that expand on Vermeer’s enduring themes of intimacy, distance and time. Vermeer’s paintings reward close looking, and this book rewards close reading. The scholarly essays offer insight without diminishing the quiet spell of these works. One of the three paintings is currently on view at the newly renovated Frick in New York—an ideal companion experience to the book itself." — OBSERVER