{"id":3353,"date":"2019-05-22T12:31:56","date_gmt":"2019-05-22T03:31:56","guid":{"rendered":"https:\/\/juliafriedman.org\/?p=3353"},"modified":"2021-09-08T20:04:54","modified_gmt":"2021-09-09T03:04:54","slug":"on-a-new-vermeer-in-dresden","status":"publish","type":"post","link":"https:\/\/juliafriedman.org\/?p=3353","title":{"rendered":"On \u201cA \u2018new\u2019 Vermeer in Dresden\u201d"},"content":{"rendered":"<p><a href=\"https:\/\/www.newcriterion.com\/blogs\/dispatch\/ok-cupid-10820\" target=\"_blank\" rel=\"noopener\">My latest article<\/a> for <em>The<\/em> <em>New Criterion<\/em> explores how one of&nbsp;Vermeer\u2019s iconic paintings known for its minimalist subtlety, was, in fact, didactic and obvious. The \u201cGirl Reading a Letter At an Open Window,\u201d now in&nbsp;Staatliche Kunstsammlungen Dresden, originally contained an image of a giant Cupid painting on the back wall. The Cupid was overpainted after Vermeer\u2019s death, adding to the mystery of the subject matter. Now the work is undergoing restoration to its original, unambiguously campy love-story state.<\/p>\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"400\" height=\"223\" src=\"https:\/\/juliafriedman.org\/wp-content\/uploads\/2021\/09\/Screen-Shot-2021-09-03-at-2.48.12-PM-400x223.png\" alt=\"\" class=\"wp-image-4272\" srcset=\"https:\/\/juliafriedman.org\/wp-content\/uploads\/2021\/09\/Screen-Shot-2021-09-03-at-2.48.12-PM-400x223.png 400w, https:\/\/juliafriedman.org\/wp-content\/uploads\/2021\/09\/Screen-Shot-2021-09-03-at-2.48.12-PM.png 596w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><\/figure><\/div>\n","protected":false},"excerpt":{"rendered":"<p>My latest article for The New Criterion explores how one of&nbsp;Vermeer\u2019s iconic paintings known for its minimalist subtlety, was, in fact, didactic and obvious. The \u201cGirl Reading a Letter At an Open Window,\u201d now in&nbsp;Staatliche Kunstsammlungen Dresden, originally contained an image of a giant Cupid painting on the back wall. The Cupid was overpainted after [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[939],"tags":[225,929,930,931,926,764,932,934,928,933,927],"class_list":["post-3353","post","type-post","status-publish","format-standard","hentry","category-johannes-vermeer","tag-art-history","tag-conservation","tag-cupid","tag-iconography","tag-johannes-vermeer","tag-painting","tag-punctum","tag-school-of-delft","tag-staatliche-kunstsammlungen-dresden","tag-studium","tag-visual-poetry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>On \u201cA \u2018new\u2019 Vermeer in Dresden\u201d - Julia Friedman<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/juliafriedman.org\/?p=3353\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"On \u201cA \u2018new\u2019 Vermeer in Dresden\u201d - Julia Friedman\" \/>\n<meta property=\"og:description\" content=\"My latest article for The New Criterion explores how one of&nbsp;Vermeer\u2019s iconic paintings known for its minimalist subtlety, was, in fact, didactic and obvious. The \u201cGirl Reading a Letter At an Open Window,\u201d now in&nbsp;Staatliche Kunstsammlungen Dresden, originally contained an image of a giant Cupid painting on the back wall. The Cupid was overpainted after [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/juliafriedman.org\/?p=3353\" \/>\n<meta property=\"og:site_name\" content=\"Julia Friedman\" \/>\n<meta property=\"article:published_time\" content=\"2019-05-22T03:31:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-09-09T03:04:54+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/juliafriedman.org\/wp-content\/uploads\/2021\/09\/Screen-Shot-2021-09-03-at-2.48.12-PM-400x223.png\" \/>\n<meta name=\"author\" content=\"jfriedman\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"jfriedman\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/juliafriedman.org\\\/?p=3353#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/juliafriedman.org\\\/?p=3353\"},\"author\":{\"name\":\"jfriedman\",\"@id\":\"https:\\\/\\\/juliafriedman.org\\\/#\\\/schema\\\/person\\\/9120ffb6bd1d9684130c3eed0e059423\"},\"headline\":\"On \u201cA \u2018new\u2019 Vermeer in Dresden\u201d\",\"datePublished\":\"2019-05-22T03:31:56+00:00\",\"dateModified\":\"2021-09-09T03:04:54+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/juliafriedman.org\\\/?p=3353\"},\"wordCount\":90,\"image\":{\"@id\":\"https:\\\/\\\/juliafriedman.org\\\/?p=3353#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/juliafriedman.org\\\/wp-content\\\/uploads\\\/2021\\\/09\\\/Screen-Shot-2021-09-03-at-2.48.12-PM-400x223.png\",\"keywords\":[\"Art History\",\"conservation\",\"cupid\",\"iconography\",\"Johannes Vermeer\",\"painting\",\"punctum\",\"School of Delft\",\"Staatliche Kunstsammlungen Dresden\",\"studium\",\"visual poetry\"],\"articleSection\":[\"Johannes Vermeer\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/juliafriedman.org\\\/?p=3353\",\"url\":\"https:\\\/\\\/juliafriedman.org\\\/?p=3353\",\"name\":\"On \u201cA \u2018new\u2019 Vermeer in Dresden\u201d - 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