"Gowing's text remains the single best sustained piece of critical writing that exists on Vermeer."—Svetlana Alpers From the Back Cover Lawrence Gowing's classic study has long been treasured for the painterly sensibilities he brought to Vermeer's greatly loved body of work/5(). · Lawrence Gowing's classic study has long been treasured for the painterly sensibilities he brought to this greatly loved body of work. Finally the text is available again, with a new foreword and fresh reproductions of Vermeer's paintings. Related collections and offers. Product Details. As one of the leading critical voices on art of the post-war years, Lawrence Gowing () combined a passion for close visual involvement with formidable literary skills. Having begun his career as a painter, Gowing's monograph on Vermeer () brought him early recognition as a writer who combined this experience with a meticulous historical perspective. ISBN
E. H. Gombrich, Review of Lawrence Gowing, Vermeer, The Observer, London, 7 September, [Trapp noF.1] The Artist's Vision. The case of the Vermeer forgeries will long be remembered for the resounding éclat with which it. Gowing, Lawrence, Sir. Artist, curator and historian of modern art history. Gowing was born to Horace Gowing, a successful draper. His early years were spent at the Downs School at Colwall, Herefordshire. He was tutored in art first by Maurice Feild () and later by William Coldstream (), the latter frequenting the school. Gowing, Lawrence, Vermeer. Berkeley: University of California Press, , 2d printing number line, 80pp. plates, viii, pp., sewn PAPERBACK, very good, fresh attractive copy. As one of the leading critical voices on art of the post-war years, Lawrence Gowing () combined a passion for close visual involvement with.
Lawrence Gowing's classic study has long been treasured for the painterly sensibilities he brought to this greatly loved body of work. Finally the text is available again, with a new foreword and fresh reproductions of Vermeer's paintings. Lawrence Gowing explores the ways in which Johannes Vermeer was similar to and different from his contemporaries—especially Vermeer's early struggles with genre scenes and his "solutions" (solitary women lost in their own worlds, little human interaction) and the unprecedented ways in which optics and light take primacy in his works rather than recognizability or visual continuity. In , the art critic and painter Lawrence Gowing published a monograph of Vermeer which had both a long-lasting impact on the collective image of both Vermeer's art and of Vermeer the man. 2 Despite the quietude of his scenes and the levigated surfaces of his canvases, for Gowing something was amiss. He assumed that the invisible movements of the painter's psyche were crucial in determining the outer form of Vermeer's art and that it is the art historian's duty to recover them.
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