Radin noticed that some of the contemporary work was referential—harking back to Vermeer, say, or Raphael.
Any show by Vermeer, his close colleague, is a guaranteed blockbuster.
Her work has an inspired completion and accuracy that recalls artists like Durer or Vermeer.
There were no verses on Vermeer—just a mention in a poem on another artist seen as greater.
And the painting you produced had the same Vermeer quality to it?
Vermeer, although always a superb craftsman, was not always inspired.
And now it's high time to answer my question: Who owns the thirty-fifth Vermeer?
There is little danger nowadays of any other painter being saddled with the name of Vermeer.
There is a Vermeer in Berlin on which he has set his heart, and another in Dresden.
But not much weight can be attached to the opinions of the earlier critics of Vermeer.