This week’s works of art is an early work by the renowned Dutch painter Jan Vermeer, though technically Johannes Vermeer. In fact, the Swiss Berger Foundation claims it’s Vermeer’s very first known painting, though others disagree. It’s most often known as The Procuress, though occasionally it’s called The Go-Between. Painted in 1656, today the painting hangs in the Staatliche Kunstsammlungen, which is in Dresden, Germany. I saw the original when I visited the nearby Radeberg Brauerei a number of years ago, as we stayed in downtown Dresden.

In “Vermeer: The Complete Works,” author Arthur K. Wheelock, Jr, describes the painting:

Few of Vermeer’s paintings are as provocative as this fascinating scene of mercenary love, which, in its subject, as well as in its momentary gestures and expressions, seems to differ from his earlier biblical and mythological scenes. Here, behind a balustrade covered by a richly decorated rug, a procuress looks approvingly at a soldier, who offers a young woman a coin while fondling her breast. Holding a glass of wine in one hand, she willingly accepts his proposition with her other.

Wikipedia has its own page for the painting. And Essential Vermeer also has analysis of the painting from additional sources. They also have a very cool interactive Procuress where you hold your mouse over different parts of the painting to get detailed information about that area. For our purposes, here’s what they have to say about the beer in the picture:

And here’s the information about the Römer glass referred to above:

You can read Vermeer’s biography at Wikipedia and at ArTable. There are also endless resources at Essential Vermeer. To see the rest of Vermeer’s paintings, the Essential Vermeer has a complete collection or check out the Web Museum, the Web Gallery of Art or the Artchive.

As tomorrow is Halloween, this week’s works of art involves the supernatural as well as beer. It’s from around 1639 and was painted by Judith Leyster, one of three significant Dutch Golden Age female artists. It’s known by various titles, The Last Drop, the Gay Cavalier and the Merry Drinkers. Whatever you call it, the original is at the Philadelphia Museum of Art.

The museum describes the painting:

The costume that the standing figure wears over his clothes suggests that the setting is vastenavond, the night before the beginning of Lent, when people frequently went on binges in order to prepare themselves for fasting and abstinence. This painting speculates on the consequences of such overindulgence. In their dissipated state, the gay cavalier and his companion ignore the menacing presence of the skeleton, which bears an ominous hourglass in one bony hand and a skull in the other.

But another art critic had this to say:

This candle-lit cabaret scene depicts beer drinkers engaged in a drinking competition of sorts. The use of shadow and contrasts in light is pronounced and is reminiscent of Caravaggio. Although the scene is a merry one, Death, symbolized by the skeleton, is present to encourage their excesses, marking them for an all too obvious fate. The setting is magnificently constructed and the lively treatment owes much to Frans Hals. The allegory is striking in the contrast it depicts between the carefree frolickings of the figures and the tragedy awaiting them.

So it seems not everyone agrees about what’s going on in the painting, but it seemed appropriate for Halloween because of the skeleton and the spectre of death it represents.

Leyster painted a number of portraits and genre paintings, and at least one more with beer. Below is The Merry Drinker, from 1630.

Unfortunately, she stopped painting after she married. Of course, it was the 17th century. You can read her biography at Wikipedia and at the National Museum
of Women in the Arts. And you can see more of her paintings at ArtCyclopedia, Olga’s Gallery, the Web Gallery of Art and the WikiMedia Gallery.