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The Geographer

From Wikipedia, the free encyclopedia

The Geographer
ArtistJohannes Vermeer
Yearc. 1668–1669
MediumOil on canvas
MovementDutch Golden Age painting
Dimensions52 cm × 45.5 cm (20 in × 17.9 in)
LocationStädelsches Kunstinstitut, Frankfurt

The Geographer (Dutch: De geograaf) is a painting created by Dutch artist Johannes Vermeer in 1668–1669, and is now in the collection of the Städel museum in Frankfurt, Germany. It is closely related to Vermeer's The Astronomer, for instance using the same model in the same dress, and has sometimes been considered a pendant painting to it. A 2017 study indicated that the canvas for the two works came from the same bolt of material.[1]

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Transcription

This episode of Crash Course is brought to you by Square Space. The Moon is pretty hard to miss when it’s up at night. It’s big and bright and really very pretty. Even cooler, it’s the closest astronomical object in the Universe to us, and arguably, the one we know best. I hate to break it to you, but we humans are pretty egotistical. Even though there are over 160 known moons of decent size in our solar system, we call ours THE Moon, with a capital M, like it’s the only one, or the most important one. And I guess to us it is the most important one. It’s only the fifth largest moon in the solar system in absolute size, but compared to Earth it’s pretty big; fully a quarter of the diameter of the planet. That’s a way bigger ratio than for any other moon orbiting a major planet in the solar system. By the numbers, the Moon is about 3470 kilometers in diameter, and on average about 380,000 kilometers from Earth. That means it looks pretty big in our sky, but probably not as big as you think. When the moon rises, it can look huge and looming on the horizon, like you could fall into it. Ah, but that’s not really the case; it’s easy to show it’s the same size on the horizon as it is high overhead. Yet people think it looks twice as big when it’s on the horizon! This is the well-known Moon Illusion, and it’s due to two factors: how we perceive the sizes of objects, and how we perceive the sky. We don’t really see the sky as a hemisphere over our heads, but more like a flattened bowl, with the horizon farther away than the zenith. So when the Moon’s on the horizon, our brains are convinced it’s farther away. But if it’s farther away, it must be physically bigger to appear that size, right? So our brain interprets the Moon’s size as HUGE. It’s an illusion, but a convincing one. In fact, the Moon is about the same size as a small pill held up at arm’s length! Our satellite is a lot smaller than you think. The internal structure of the Moon is roughly similar to the Earth: It has a solid, iron inner core; a liquid outer core, a thick mantle, and a crust of lighter material on top. The core is small, probably 350 kilometers in radius, and still hot, though not as hot as Earth’s core. The lower mantle may be a thick fluid, but unlike Earth’s mantle the upper part is solid. The easiest part of the moon to observe is its surface, so of course we know the most about that. The near side, the side we see from Earth, is divided into two distinct types of regions: highlands, which are heavily cratered, and maria—Latin for “seas”—which are darker and smoother. The craters in the highlands are from countless impacts over the eons from asteroids and comets. Rocks from these regions have been dated to be well over 4 billion years old — nearly as old as the Moon itself! The maria, on the other hand, don’t have nearly as many craters. They’re younger, but that’s relative; rocks from those areas appear to be roughly 3-3.5 billion years old on average. The maria are made of darker, basaltic material, which means they probably formed from lava flooding older areas. For most of human history, the far side of the Moon was hidden from us, but in 1959 the Soviet Union flew the Luna 3 space probe around the Moon, photographing the far side for the first time. Everyone expected it to look a lot like the near side, but shockingly, it’s vastly different: There were almost no maria! That’s weird; the near side is covered with them. And not only that, observations from subsequent lunar probes showed the crust on the lunar far side is thicker than it is on the near side as well. The Moon is starting to stack up mysteries. Why is it so big compared to Earth? Why are the near and far sides so different? It turns out the composition of the crust has a lot of similarities to Earth, but also a lot of differences as well. Why? It turns out the answers to these questions are all related to how the Moon formed 4.5 billion years ago. A lot of ideas have been proposed to figure out how the Moon formed, but the best one going these days is called the Giant Impact hypothesis. When the solar system formed, there were a lot more objects orbiting the Sun than there are now. These ranged in size from grains of dust up to objects the size of planets, and that meant there were lots of collisions. No doubt the Earth suffered many such impacts. But one happened late in Earth’s history, relatively speaking, roughly 50 million years after things started to settle down. A Mars-sized planet, given the unofficial name Theia, slammed into our young planet, but it wasn’t a head-on impact; it was a grazing collision. The impact was colossal, blasting a huge amount of material from both planets into space. Most of it came from the outer layers of the Earth, since the collision was a grazing one. This material rapidly coalesced into the Moon, and that explains why there’s some but not total similarity in composition to Earth; it used to be part of the Earth. But some of it came from the other planet, too. And we may even have some evidence of it; some rocks from the Moon show a peculiar ratio of different kinds of oxygen atoms, called isotopes. It’s possible some of the more exotic isotopes of oxygen came from the other planet. Actually, this idea has been around for a long time, ever since the Apollo missions in the 1970s. There’s a lot of evidence to support it, too. But a new twist on it goes farther. When the Moon formed from the debris of the collision, it was close to Earth, probably 20,000 kilometers away. The collision was so violent that it completely melted the Earth, and the Moon was molten too. Tidal forces rapidly synchronized the Moon’s spin and orbital period, so that one face always pointed toward Earth. If you were on that side of the Moon, the Earth would dominate the sky, appearing 80 times larger than the Moon appears in our sky today. And the Earth was hot. It hung there like blast furnace, and would’ve seriously heated the near side of the Moon. The far side would’ve been much cooler. The material on the near side would’ve vaporized, and a lot of it would have condensed on the far side. Over time, this created the thicker far side crust we see today. Then there was another seriously terrifying event: the Late Heavy Bombardment, a period of intense collisions with comets from the outer solar system, probably triggered by the movement of outer planets. This rain of millions of comets left scars on all the inner worlds, including the Moon. That’s when most of the highland cratering occurred. Some of these collisions were massive, carving gigantic craters on the Moon. Later, lava bubbled up through cracks in the Moon’s surface, flooding these craters, creating the maria we see today. Ah, but the far side’s crust was thicker. Impacts there couldn't get as deep, and it was harder for lava to break through and bubble up. That explains why there are so few maria there. This idea that the Earth cooked the Moon and formed the crustal anomaly is pretty new, and is still being argued over. There are also competing hypotheses about this, as well. As we gather more evidence, we’ll eventually get a better understanding of just why the Moon’s crust is so weird. After all that, I have to say: it’s a little unfair to divide the lunar surface today into just highlands and maria. For example, craters are pretty diverse. Some are small and simple bowl shapes. Others are huge, dozens of kilometers across and more, punctuated with a central peak, a mountain in the middle that formed as material from the gigantic impact that formed it splashed back up in the middle. Double craters are common too, probably formed when binary asteroids hit the Moon. There are also crater chains: long lines of small craters that may have formed when a nearby large impact splashed out long streamers of material. Rays are common from big craters, too. These are extremely long “splash marks” pointing radially out from the impacts, probably formed when plumes of material were ejected. Some of the brightest are from the crater Tycho in the Moon’s southern hemisphere, and they stretch for 1500 kilometers. The material is a bit more reflective than the surrounding terrain, so they appear bright in contrast, and are one of the most outstanding features visible near the time of the full Moon. And there’s so much more! Long, sinuous rilles like dry river beds wind their way across the surface, actually the sites of ancient lava flows. There are lava tubes as well, where the top of a lava flow cooled and formed a tunnel through which lava could flow for long distances. Sometimes the roof, as it’s called, collapses and forms a skylight, and we can see into the otherwise hidden tunnel. There are also cliffs, mounds, ancient and quite dead volcanoes, even mountain chains! There’s no tectonic activity on the Moon, but mountain ranges formed at the edges of giant impacts, where the huge forces unleashed pushed up the rocks at the crater rim. And new observations show there’s something else on the Moon, too: Water. Deep craters near the Moon’s poles have floors that never see sunlight. Comet impacts can distribute water all over the Moon, but most of it is destroyed by sunlight. But it can collect in these dark craters, and studies show there could be over a billion tons of water there in the form of ice. That would be a huge boon to colonization; water is heavy and really expensive to transport from Earth. If it’s already on the Moon, that makes it a lot easier to put people there. And that’s in our future, I have no doubt. We’re starting to get serious about going back to the Moon; NASA has plans of returning, and other countries like China and India are looking Moonward as well. It’s not a matter of if, but when. And it could be soon - so soon that, I’d bet, there’s a really good chance the next person to step foot on the Moon is already alive. Perhaps some teenage student in some country is just now taking an interest in science, math, engineering - an interest that will one day will lead to another giant leap for humanity. Today you learned that the capital-M Moon is a lower-case-m-moon. It’s big compared to Earth, and is thought to have formed when a small planet impacted Earth at a grazing angle. It’s heavily cratered, and has huge flood plains on it called maria. There’s water there, too, just waiting for us to thaw it out and drink it. Crash Course Astronomy is produced in association with PBS Digital Studios. Head to their channel to discover more awesome videos. This episode was written by me, Phil Plait. The script was edited by Blake de Pastino, and our consultant is Dr. Michelle Thaller. It was directed by Nicholas Jenkins, edited by Nicole Sweeney, and the graphics team is Thought Café.

Description

Vermeer's The Astronomer has been considered a pendant to The Geographer

This is one of only three paintings Vermeer signed and dated (the other two are The Astronomer and The Procuress).

The geographer, dressed in a Japanese-style robe then popular among scholars,[2] is shown to be "someone excited by intellectual inquiry", with his active stance, the presence of maps, charts, a globe and books, as well as the dividers he holds in his right hand, according to Arthur K. Wheelock Jr. "The energy in this painting [...] is conveyed most notably through the figure's pose, the massing of objects on the left side of the composition, and the sequence of diagonal shadows on the wall to the right."[3]

Vermeer made several changes in the painting that enhance the feeling of energy in the picture: the man's head was originally in a different position to the left of where the viewer now sees it, indicating the man perhaps was looking down, rather than peering out the window; the dividers he holds in his hand were originally vertical, not horizontal; a sheet of paper was originally on the small stool at the lower right, and removing it probably made that area darker.[3]

Details of the man's face are slightly blurred, suggesting movement (also a feature of Vermeer's Mistress and Maid), according to Serena Carr. His eyes are narrowed, perhaps squinting in the sunlight or an indication of intense thinking. Carr asserts that the painting depicts a "flash of inspiration" or even "revelation". The drawn curtain on the left and the position of the oriental carpet on the table—pushed back—are both symbols of revelation. "He grips a book as if he's about to snatch it up to corroborate his ideas."[4]

Faust depicted in an etching by Rembrandt (c. 1650). Faust, also a scholar, is depicted in the same pose as The Geographer, although facing in roughly the opposite direction.

The globe was published in Amsterdam in 1618 by Jodocus Hondius.[3] Terrestrial and celestial globes were commonly sold together, and the celestial globe in The Astronomer "was also a Hondius (Hendrick rather than Judocus)", another indication that the two paintings were created as pendant pieces, according to Cant. The globe is turned toward the Indian Ocean, where the Dutch East India Company was then active. Vermeer used an impasto technique to apply pointillé dots, not to indicate light reflected more strongly on certain points but to emphasize the dull ochre cartouche "frame" printed on the globe. Since the globe can be identified, we know the decorative cartouche includes a plea for information for future editions—reflecting the theme of revelation in the painting.[4]

Vermeer's possible model, Anthonie van Leeuwenhoek, painted two decades later by Jan Verkolje

The cartographic objects surrounding the man are some of the actual items a geographer would have: the globe, the dividers the man holds, a cross-staff (hung on the center post of the window), used to measure the angle of celestial objects like the Sun or stars, and the chart the man is using, which, according to one scholar, James A. Welu, appears to be a nautical chart on vellum. The sea chart on the wall of "all the Sea coasts of Europe" has been identified as one published by Willem Jansz. Blaeu. This accuracy indicates Vermeer had a source familiar with the profession. The Astronomer, which seems to form a pendant with this painting, shows a similar, sophisticated knowledge of cartographic instruments and books, and the same young man modeled for both. That man himself may have been the source of Vermeer's correct display of surveying and geographical instruments, and possibly of his knowledge of perspective.[3]

Wheelock and others assert the model/source was probably Antonie van Leeuwenhoek (1632–1723), a contemporary of Vermeer who was also born in Delft. The families of both men were in the textile business, and both families had a strong interest in science and optics. A "microscopist", van Leeuwenhoek was described after his death as being so skilled in "navigation, astronomy, mathematics, philosophy, and natural science ... that one can certainly place him with the most distinguished masteres of the art." Another image of van Leeuwenhoek (by the Delft artist Jan Verkolje) about 20 years later shows a broad face and straight nose, similar to Vermeer's model. At the time Vermeer painted the two works, the scientist would have been about 36 years old. He would have been actively studying for his examination for surveyor, which he passed on 4 February 1669. There is no documentary evidence for any kind of relationship between the two men during Vermeer's lifetime, although in 1676, van Leeuwenhoek was appointed a trustee for Vermeer's estate.[3]

The pose of the figure in Vermeer's painting "takes up precisely the position of Faust in Rembrandt's famous etching" (although facing the opposite direction), according to Lawrence Gowing. Similar arrangements can be found in drawings by Nicolaes Maes.[5]

Provenance and exhibitions

A less-detailed image of the painting, with more accurate coloring
1720 catalog listing the work.

For much of the painting's early history (until 1797), it was owned together with The Astronomer, which it strongly resembles, and the two have long been considered pendants, although their measurements are not identical. The paintings were not among the works in the Dissius sale of 1696, a collection apparently originally owned by the artist's supposed patron, Pieter van Ruijven, and the earliest record of the painting is from 1713. Up until the late 18th century, they were referred to as "Astrologers". The pair were sold by an anonymous owner together in Rotterdam on 27 April 1713 (No. 10 or 11), for 300 florins (a "considerable sum", according to Wheelock). Hendrik Sorgh, an art broker, may have bought the paintings at that point. They were among his effects when he died in 1720, and both were sold on 28 March of that year in Amsterdam (No. 3 or 4 in the sale; for 160 florins; described as "An Astrologer" and "a repeat"). Govert Looten, a neighbor of Sorgh at the Keizersgracht in Amsterdam bought the paintings, which were sold from his estate on 31 March 1729 (this painting was No. 6 and went for 104 florins, both were described in the catalog as "sublimely and artfully painted"). Jacob Crammer Simmonsz of Amsterdam (1725–1778) owned the pair before 1778, hanging them in his home on the Prinsengracht (Simonsz also owned The Lacemaker and another Vermeer, now unknown, depicting a lady pouring wine). He sold The Astronomer and The Geographer together on 25 November of that year to a Huguenot banker, Jean Etiènne Fizeaux of Amsterdam, who owned The Geographer until his death in 1780. His widow owned the work until perhaps 1785. As of 1794 it was owned by Jan Danser Nijman of Amsterdam, who sold it on 16 August 1797, to Christiaan Josi, a publisher of prints, for 133 guilders. It later was bought by Arnoud de Lange of Amsterdam. This transaction separated the two paintings. De Lange sold it on 12 December 1803, for 360 florins.[3]

Sometime before 1821, the painting was owned by Johann Goll van Franckenstein Jr. of Velzen and Amsterdam. Pieter Hendrick Goll van Franckenstein of Amsterdam owned it before 1832, and he sold it on 1 July 1833, for 195 florins to a Nieuwenhuys. It was owned by Alexandre Dumont of Cambrai before 1860, who sold it through Thoré-Bũrger to Isaac Pereire of Paris, who owned it by 1866. It was sold on 6 March 1872. Max Kann of Paris owned the painting, perhaps that year, and it passed into the hands of Prince Demidoff of San Donato, near Florence, sometime before 1877, and stayed in his hands until he sold it on 15 March 1880. A.J. Bosch sold the painting in Vienna on 28 April 1885 (for Õs 8,000) to a Kohlbacher, who sold it to the Städel in Frankfurt.[3]

The work was exhibited in the Exposition rétrospective, Tableaux anciens empruntés aux galeries particulières held at the Palais des Champs-Elysées, Paris, 1866; at the exhibition of Ouvrages de peinture exposés au profit de la colonisation de l'Algérie par les Alsaciens-Lorrains, Palais de la Présidence du Corps législatif, Paris, 1874; and in the Vermeer, oorsprong en involved. Fabritius, de Hooch, de Witte exhibition at the Museum Boijmans Van Beuningen in Rotterdam, 1935.[3]

See also

References

  1. ^ Johnson, C. Richard Jr; Sethares, W.A. (Winter 2017). "Canvas Weave Match Supports Designation of Vermeer's Geographer and Astronomer as a Pendant Pair". Journal of Historians of Netherlandish Art. 9 (1). doi:10.5092/jhna.2017.9.1.17.
  2. ^ Wheelock 2000.
  3. ^ a b c d e f g h Wheelock 1995
  4. ^ a b Cant 2009
  5. ^ Gowing 1970

Sources

Further reading

External links

This page was last edited on 31 October 2023, at 01:11
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