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“This e-book is a treasure and a consultant. it's a form of therapeutic for the mind and the heart.” - (Rebecca Lee)

A lyrical and intimate account of ways a poet, in the middle of a foul divorce, unearths comfort and style via viewing the work of Vermeer, in six global towns. in the middle of a divorce (in which the custody of his younger daughter is at stake) and over the process a 12 months, the poet Michael White, travels to Amsterdam, The Hague, Delft, London, Washington, and long island to view the work of Johannes Vermeer, an artist passionate about romance and the interior life.  he's astounded by way of how consoling it truly is to appear heavily at Vermeer’s ladies, on the artist’s courting to his matters, and at how composition displays again to the viewer such deep feeling. contains the author’s very own learn of Vermeer. via those travels and his encounters with Vermeer’s radiant imaginative and prescient, White reveals grace and private transformation.

"White brings [sensitivity] to his luminous readings of the work.  An enthralling booklet concerning the transformative energy of art."  - (Kirkus Reviews) 

"… Figures it took a poet to get it this superbly, thrillingly right.” - (Peter Trachtenberg)

"A distinctive dance between genres...clear and robust descriptions contact at the mysteries of seduction, loss, and the creative impulse."   - (Clyde Edgerton)

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It’s a phenomenon we take care of unconsciously, on a retinal point. relating to the well-known earring, for example, the attention takes in brushstrokes—and we fill within the relaxation unaware. in contrast brightly lit wall, Vermeer assembles his nice poem of shadows. There’s a row of attribute Delftware tiles alongside the baseboards, every one white sq. with a unmarried, blue figure—a cupid fishing, for instance—little scenes that appear to mirror just about romance. My eye strikes from tile to tile as though following a path of clues. Then I learn the black-and-white marble floor—with cloudy, stylized veins within the white tiles. it sort of feels to me his such a lot conscientiously measured flooring, his such a lot rigorously measured dice of house. “Look! A Vermeer! ” says a customer. With a bustle of umbrellas, a number of move: rainy over-clothes and squeaky footwear. It nonetheless turns out extraordinary that this woman—part woman, half love goddess—regards me with any such shadowed, greenish face. And but every thing that will quite often allure my eye during this luminous portray is in a similar way shadowed: her mouth, her chest, her palms and arms, even the pearls at her throat dissolve to a smoky blur. i glance into her face for fifteen mins or so, then glance away. Then try out back. After the intensities of The Milkmaid, of the woman with a Pearl Earring, and all of the others, this small and enigmatic face turns out nearly disinterested in me. however the longer i glance, the extra I belief her, and the extra placid she looks, relaxed in her outfits, during this gentle, during this room. As tall as she is, she floats in space—and gazes a little bit down on me—and would seem even taller if I took the seat. I think sitting toes from her silk costume, with its gorgeous, columnar shadows, my correct shoulder approximately touching the higher left nook of the part of the virginal—where, I’ve learn, the artist has signed the paintings, notwithstanding I’ve by no means obvious the signature since it isn’t obvious within the reproductions. I lean in shut now, analyzing glasses on, and locate it—faint because it is, his monogram “Meer” with the letter I inserted within the V of the M. This isn’t one in every of Vermeer’s extra renowned work. yet for the moment—seeing and being noticeable through the lady—the photograph feels ennobling, and that i suppose necessary of it. thirteen. a woman Seated at a Virginal I’ve moved a couple of ft to the proper, and brought up a snug point of view, Uniball in hand. I write, “questionable morals. ” this can be my quick reaction to the sly, come-hither look of a girl Seated at a Virginal. In a girl status, the virginal is at the correct and the girl faces correct. In a girl Seated, the virginal is at the left and the lady faces left. The situations are contrary, and so is my reaction. instead of status again contemplatively, as I did with a girl status, I’m drawn in with regards to this slouching lady. Her expression is coyly impartial from a distance, yet up shut she turns out to flash a realizing smile—almost a leer. there's a floral curtain placing on the top left foreground, just like that during The artwork of portray and Allegory of religion. The curtain not just provides intensity during this scene, but in addition a feeling of voyeuristic excitement to the ambiguous scene past it, within the room.

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