Pesquisando por: "JOHANNES VERMEER" - Fotoarena - Agência de fotojornalismo

ny220324201106 HEADLINE: Empty Frames and Other Oddities From the Unsolved Gardner Museum HeistCAPTION: A vacant frame where Johannes Vermeer?s ?The Concert? (1663-1666) was once displayed at the Isabella Stewart Gardner Museum in Boston in March 2024. After 34 years, not one of the 13 works stolen during the largest art theft in history has surfaced but the puzzling peculiarities of the case still draw interest. CREDIT: (Tony Luong/The New York Times/Fotoarena)

ny190324172107 A vacant frame where Johannes Vermeer?s ?The Concert? (1663-1666) was once displayed at the Isabella Stewart Gardner Museum in Boston in March 2024. After 34 years, not one of the 13 works stolen during the largest art theft in history has surfaced but the puzzling peculiarities of the case still draw interest. (Tony Luong/The New York Times/Fotoarena)

ny100223202806 A detail of ?The Geographer,? 1669, one of many paintings by Johannes Vermeer with foreign luxuries and new scientific instruments, on view at the Rijksmuseum in Amsterdam, Feb. 6, 2023. The Rijksmuseum?s definitive Vermeer exhibition pares the sphinx of Dutch art to the essence: 28 gemlike paintings, writes the New York Times critic Jason Farago. (Melissa Schriek/The New York Times/Fotoarena)

ny230223180807 FILE ? Vermeer paintings on display in a Rijksmuseum gallery in Amsterdam, Feb. 6, 2023. The Rijksmuseum sold out the more than 450,000 tickets for its Vermeer show in less than four days. (Melissa Schriek/The New York Times/Fotoarena)

ny100223202506 A visitor looks at Johannes Vermeer?s ?Milkmaid? (1658-59), which has its own empty gallery in the retrospective at the Rijksmuseum in Amsterdam, Feb. 6, 2023. The Rijksmuseum?s definitive Vermeer exhibition pares the sphinx of Dutch art to the essence: 28 gemlike paintings, writes the New York Times critic Jason Farago. (Melissa Schriek/The New York Times/Fotoarena)

ny100223202006 Visitors look at the artist Johannes Vermeer?s painting ?Girl Reading a Letter at an Open Window? (1657-58), at the Rijksmuseum in Amsterdam, Feb. 6, 2023. The Rijksmuseum?s definitive Vermeer exhibition pares the sphinx of Dutch art to the essence: 28 gemlike paintings, writes the New York Times critic Jason Farago. (Melissa Schriek/The New York Times/Fotoarena)

ny100223202906 The artist Johannes Vermeer?s painting ?The Girl With a Pearl Earring? (1664-67), on view at the Rijksmuseum in Amsterdam, Feb. 6, 2023. The Rijksmuseum?s definitive Vermeer exhibition pares the sphinx of Dutch art to the essence: 28 gemlike paintings, writes the New York Times critic Jason Farago. (Melissa Schriek/The New York Times/Fotoarena)

ny100223203005 A detail of the artist Johannes Vermeer?s painting ?The Girl With a Pearl Earring? (1664-67), at the Rijksmuseum in Amsterdam, Feb. 6, 2023. The Rijksmuseum?s definitive Vermeer exhibition pares the sphinx of Dutch art to the essence: 28 gemlike paintings, writes the New York Times critic Jason Farago. (Melissa Schriek/The New York Times/Fotoarena)

ny100223202606 A woman examines the artist Johannes Vermeer?s painting ?Mistress and Maid? (1664-67), lent from the Frick Collection in New York, at the Rijksmuseum in Amsterdam, Feb. 6, 2023. The Rijksmuseum?s definitive Vermeer exhibition pares the sphinx of Dutch art to the essence: 28 gemlike paintings, writes the New York Times critic Jason Farago. (Melissa Schriek/The New York Times/Fotoarena)

ny100223201806 A detail of Johannes Vermeer?s painting ?Mistress and Maid? (1664-67), on view at the Rijksmuseum in Amsterdam, Feb. 6, 2023. The Rijksmuseum?s definitive Vermeer exhibition pares the sphinx of Dutch art to the essence: 28 gemlike paintings, writes the New York Times critic Jason Farago. (Melissa Schriek/The New York Times/Fotoarena)

ny100223201906 The artist Johannes Vermeer?s only two streetscapes: ?View of Delft? (1660-61), left, and ?The Little Street? (1658-59), on view at the Rijksmuseum in Amsterdam, Feb. 6, 2023. The Rijksmuseum?s definitive Vermeer exhibition pares the sphinx of Dutch art to the essence: 28 gemlike paintings, writes the New York Times critic Jason Farago. (Melissa Schriek/The New York Times/Fotoarena)

ny280621163405 A museum guest photographs Johannes Vermeer?s ?Woman Holding a Balance? in the National Gallery of Art in Washington on June 18, 2021. High-tech scanning techniques used by geologists, planetary scientists, drug companies and the military are revealing secrets of how artists created their masterpieces. (T.J. Kirkpatrick/The New York Times/Fotoarena)

ny140318183311 A Playmobil toy based on Johannes Vermeer?s ?The Milkmaid? is displayed in the gift shop at the Rijksmuseum in Amsterdam on Feb. 27, 2018. As museum shops become more experimental, they are evolving -- as the Rijksmuseum shop has-- into destinations unto themselves. (Michel deGroot/The New York Times/Fotoarena)

ny260218115013 The Mauritshuis Royal Picture Gallery, which houses Johannes VermeerÕs ÒThe Girl with a Pearl Earring,Ó in The Hague, Netherlands, Feb. 15, 2018. Researchers will use technology borrowed from medicine to find the answers to lingering questions about VermeerÕs 1665 masterpiece. (Michel de Groot/The New York Times/Fotoarena)

ny260218114513 An X-ray photo of Johannes VermeerÕs ÒGirl with a Pearl EarringÓ at the Mauritshuis Royal Picture Gallery in The Hague, Netherlands, Feb. 15, 2018. Researchers will use technology borrowed from medicine to find the answers to lingering questions about VermeerÕs 1665 masterpiece. (Michel de Groot/The New York Times/Fotoarena)

ny260218114713 Abbie Vandivere, left, the paintings conservator at the Mauritshuis Royal Picture Gallery, and Emilie Gordenker, the museum director, examine an X-ray photo of Johannes VermeerÕs ÒGirl with a Pearl EarringÓ in The Hague, Netherlands, Feb. 15, 2018. Researchers will use technology borrowed from medicine to find the answers to lingering questions about VermeerÕs 1665 masterpiece. (Michel de Groot/The New York Times/Fotoarena)

ny100223204505 A detail of Johannes Vermeer?s ?Milkmaid? (1658-59), which has its own empty gallery in the retrospective at the Rijksmuseum in Amsterdam, Feb. 6, 2023. The Rijksmuseum?s definitive Vermeer exhibition pares the sphinx of Dutch art to the essence: 28 gemlike paintings, writes the New York Times critic Jason Farago. (Melissa Schriek/The New York Times/Fotoarena)

MCDCLTO_KI001 CLOSE TO VERMEER, (aka DICHT BIJ VERMEER), US poster, Girl with a Pearl Earring, by Johannes Vermeer, 2023. © Kino Lorber /Courtesy Everett Collection