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Through a historical analysis of Vermeer's method of production and a close reading of his work, Daniel Arasse explores the originality of this artist in the context of 17th-century Dutch painting. Arguing that Vermeer was not a painter in the conventional, commercial sense, Arasse suggests that his confrontation with painting represented a very personal and ambitious effort to define a new pictorial practice within the classical tradition of his art. By examining Vermeer's approach to image-making, the author finds that ...

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