維梅爾（Johannes Vermeer, 1632-1675）是現今荷蘭十七世紀最偉大的繪畫大師之一，然而在其身後卻「被遺忘」超過一個世紀，直到十九世紀中葉才被法國藝評者竇黑（Théophile Thoré, 1807-1869）「再發現」。然而，維梅爾為何會被遺忘？又如何被再發現？直到成就今日地位。本論文將以維梅爾生前之名聲概況，十八世紀至十九世紀藝術市場收藏的品味，竇黑「再發現」的理念與推廣方式，以及二十世紀初至二十世紀末博物館舉辦的公共展覽等面向，理解藝術家地位變遷之過程，期望探究維梅爾如何從「被遺忘」到「被接受」的歷史，形塑成當代「典範」畫家。 第一章將以維梅爾的贊主與顧客，回溯十七世紀時他的地位與名聲，追溯最初的歷史脈絡，再探討維梅爾逝世後是否真的被遺忘，以及其被遺忘之可能因素。第二章則著重於維梅爾在十八至十九世紀初荷蘭本國以及英、法、中歐等外國藝術市場的收藏與販售狀況，說明重要收藏家、畫商等對維梅爾名聲的影響。其次，則探討十九世紀後半葉品味的轉變，對竇黑「再發現」維梅爾的影響，而其又如何重塑維梅爾聲名，並了解經由竇黑「再發現」後維梅爾地位的變化。第三章則以博物館的公共展覽為主，聚焦二十世紀三場重要的維梅爾展覽：1909年由大都會博物館舉辦的「哈德森與富爾頓紀念展」、1929年在英國皇家藝術學院舉辦的「荷蘭藝術展：1450-1990年」展覽，以及1995年由華盛頓國家藝廊與荷蘭莫里斯宮皇家藝廊聯合舉辦的維梅爾超級大展，說明其如何形塑與影響維梅爾的當代定位。 ;Johannes Vermeer is now acknowledged as one of the greatest Dutch painters of the 17th century, but was forgotten for over a century after his death. It was until the mid-19th century that Vermeer was rediscovered by French art critic Théophile Thoré (1807-1869). However, how was Vermeer forgotten? And how was he rediscovered? This research will explore the process of the change of an artist’s status from an overview of Vermeer’s reputation during his time, the taste of art market from the 18th century to the 19th century, Thoré’s idea and his way of promoting “Rediscovery”, and related exhibitions held by museums from the early 20th century to late 20th century in the hope of making a thorough inquiry into the way how Vermeer was shaped as a contemporary model painter from being forgotten and being rediscovered. Chapter one traces back Vermeer’s status and reputation in the 17th century from his patrons and customers to clear out the original historical context. Subsequently we discuss if he was truly forgotten after his death and the possible reasons for being forgotten. Chapter two firstly focuses on the status of collection and sell of Vermeer’s work in the art market in Holland and foreign countries such as Britain, France and central Europe from the 18th century and early 19th century because it explains the impact of important collectors and art dealers on Vermeer’s reputation. Secondly, the influence of change of taste during late 19th century on Thoré’s rediscovery of Vermeer and on the reshaping of Vermeer’s reputation is discussed. Also, we have an insight into the change of Vermeer’s status after Thoré’s rediscovery. Chapter three is based on the public exhibitions in museums. Lastly we focas three important exhibitions of Vermeer in the 20th century, namely “The Hudson-Fulton Exhibition” in 1909 by Metropolitan Museum of Art, “Exhibition of Dutch Art, 1450-1900” in 1929 by Royal College of Art and Blockbuster Show in 1995 by National Gallery of Art and The Mauritshuis museum, to discuss how they shape and influence Vermeer’s contemporary positioning in the history of art.
