| 參考文獻 |
十九世紀文獻
Blanc, Charles, Histoire des peintres de toutes les écoles, Vve J. Renouard, 1864.
Bürger, William (Thoré, Théophile). “Van der Meer de Delft,” Gazette des Beaux-Arts, Vol. 21 (1866), pp. 297-330, 458-470, 542-575.
——. Galerie d′Arenberg, à Bruxelles avec le catalogue complet de la collection, Paris, 1859.
——. Musées de la Hollande: Amsterdam et La Haye, Paris, 1858.
Bürger, William (Thoré, Théophile) and Waagen, Gustav. Galerie Suermondt à Aix-la-Chapelle, Études sur les peintres hollandais et flamands, Paris, Aix-la-Chapelle and Amsterdam, 1860.
van Eynden, Roeland, and van der Willigen, Adriaan, Geschiedenis der vaderlandsche schilderkunt sedert de helft der XVIII eeuw,4 vols., Haarlem 1816-40.
Smith, John. Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, vol. 4, London, 1833.
西文書目
Aillaud, Gilles, Blankert, Albert and Montias, John Michael. Vermeer, New York: Rizzoli, 1988.
Arasse, Daniel. Vermeer, faith in painting, translated by Terry Grabar, Princeton, N.J.: Princeton University Press, 1994.
Bailey, Anthony. A View of Delft, New York: Henry Holt and Co., 2001.
Barker, Emma ed. “Exhibiting the Canon: the Blockbuster Show,” in Emma Barker, ed. Contemporary Cultures of Display, New Haven and London: Yale University Press, 1999, pp. 127‐146.
Barker, Emma, “The Making of a Canonical Artist: Vermeer,” in Emma Barker, Nick Webb, and Kim Woods eds., The Changing Status of the Artist, New Haven: Yale University Press, 1999, pp. 193-219.
Binstock, Benjamin. Vermeer′s Family Secrets: Genius, Discovery, and the Unknown Apprentice, New York: Routledge, 2009.
Blankert, Albert. Vermeer of Delft: Complete Edition of the Paintings, Oxford: Phaidon; New York: Dutton, 1978.
Boschloo, Anton W.A. ‘Caravaggio and the “Copying of Nature,”’ in The Limits of Artistic Freedom: Criticism of Art in Italy from1500 to 1800, Leiden: Primavera Pers, 2008, pp. 122-139.
Charles Caffin, Story of Dutch Painting, New York: The Century Co., 1909.
Chapman, H. Perry. “Imagined Studios of Rembrandt & Vermeer,” in Michael Cole & Mary Pardo eds., Inventions of the Studio, Renaissance to Romanticism, Chapel Hill: University of North Carolina Press, 2005, pp. 108-146.
Edwards, Steve ed. Art and Its Histories: A Reader New Haven: Yale University Press in association with the Open University, 1999.
Flescher, Sharon. Zacharie Astruc, critic, artist, and Japoniste, New York: Garland Pub., 1978.
Franits,Wayne E., ed. The Cambridge Companion to Vermeer, Cambridge, New York: Cambridge University Press, 2001.
Gaskell, Ivan and Jonker, Michiel, eds. Vermeer studies, Washington: National Gallery of Art; New Haven; London: Distributed by Yale University Press, 1998.
Gowing, Lawrence. Vermeer, Berkeley, Calif.: University of California Press, 1997.
Griffiths, Antony, ed. Landmarks in print collecting: connoisseurs and donors at the British Museum since 1753, London: Published by the British Museum Press and the Parnassus Foundation in association with The Museum of Fine Arts, Houston, 1996.
Grijzenhout, Frans and van Veen, Henk, eds. The Golden Age of Dutch Painting in Historical Perspective, New York: Cambridge University Press, 1999.
de Groot, Hofstede. A catalogué raisonne of the works of the most eminent Dutch painters of the seventeenth century, based on the works of John Smith, Teaneck, N.J.: Chadwyck-Healey, 1976.
Hale, Philip Leslie. Vermeer, Boston; New York: Hale, Cushman & Flint, 1937.
Haskell, Francis. The Ephemeral Museum: Old Master Paintings and the Rise of the Art Exhibition, New Haven: Yale University Press, 2000.
——. “Old Master Exhibitions and the Second ′Rediscovery of the Primitives′,” Hommage à Michel Laclotte: Etudes sur la peinture du Moyen Age et de la Renaissance, Paris, 1994, pp. 552-564.
——. Rediscoveries in Art: Some Aspects of Taste, Fashion, and Collecting in England and France, Cornell University Press, 1976.
Hertel, Christiane. Vermeer: Reception and Interpretation, Cambridge; New York: Cambridge University Press, 1996.
Holmes, Charles John. Commemorative catalogue of the exhibition of Dutch art held in the galleries of the Royal Academy, Burlington House, London, January-March 1929, London: Oxford University Press, 1930.
Jowell, Frances Suzman. “Thoré-Bürger and Vermeer: Critical and Commercial Fortunes,” in Shop Talk: Studies in Honor of Seymour Slive, Cambridge, Mass.: Harvard University Art Museums, 1995, pp. 124-27.
Kok, Jan Piet Filedt et al. “The World of the 17th-Century Artist,” in Netherlandish Art in the Rijksmuseum, 1600-1700, Amsterdam: Waanders, 2001, pp. 21-40.
Liedtke, Walter. Vermeer: The Complete Paintings, Ghent, Belgium: Ludion Press; New York: Distributed in North America by Harry N. Abrams, 2008.
——. A view of Delft: Vermeer and his contemporaries, Zwolle: Waanders Publishers, 2000.
Liedtke, Walter. Plomp, Michiel C. and Rüger, Axel. Vermeer and the Delft school, New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2001.
Lyna, Dries. Vermeylen, Filip and Vlieghe, Hans, eds. Art auctions and dealers: the dissemination of Netherlandish art during the Ancien Régime, Turnhout: Brepols, 2009.
Mansfield, Elizabeth, ed. Art history and its institutions: foundations of a discipline, London; New York: Routledge, 2002.
Montias, John Michael. Vermeer and His Milieu: A Web of Social History, Princeton, N.J.: Princeton University Press, 1989.
——. Artists and Artisans in Delft: a Socio-Economic Study of the Seventeenth Century, Princeton, N.J.: Princeton University Press, 1982.
Netta, Irene. Vermeer′s World: an Artist and His Town, New York: Prestel, 2001.
North, Michael. Art and commerce in the Dutch Golden Age, translated by Catherine Hill, New Haven, Conn.: Yale University Press, 1997.
North, Michael and Ormrod, David, eds. Art markets in Europe, 1400-1800, Aldershot; Brookfield: Ashgate, 1998.
Perry, Gill and Cunningham, Colin, eds. Academies, Museums, and Canons of Art, New Haven: Yale University Press in association with the Open University, 1999.
Pomian, Krzysztof. Collectors and Curiosities: Paris and Venice 1500-1800, Cambridge, U.K.: Polity Press; Cambridge, Mass., USA: Basil Blackwell, 1990.
Quodbach, Esmée Quodbach. “Collecting Vermeer, 1887-1919,” in Esmée Quodbach ed., Holland′s golden age in America: collecting the art of Rembrandt, Vermeer, and Hals, New York: The Frick Collection; University Park, Pennsylvania: The Pennsylvania State University Press, 2014, pp. 94-107.
Rosenberg, Jakob, Slive, Seymour and ter Kuile, E. H. Dutch Art and Architecture: 1600 to 1800, London: Yale University Press, 1977.
Shawe-Taylor, Desmond and Scott, Jennifer. “‘Ten Thousand Graphic Details’ Reading Dutch Landscapes,” in Dutch Landscapes, London: Royal Collection, 2010, pp. 7-31.
Snow, Edward. A study of Vermeer, Berkeley: University of California Press, 1994.
Tummers, Anna and Jonckheere, Koenraad, eds. Art market and connoisseurship: a closer look at paintings by Rembrandt, Rubens and their contemporaries, Amsterdam: Amsterdam University Press, 2008.
Turner, Jane, ed. From Rembrandt to Vermeer: 17th-century Dutch artists, New York: Groveart, 2000.
Waiboer, Adriaan E. “‘Why Buy a Vermeer When a Metsu is Available?’ The Relationship between Two Dutch Genre Painters,” in Gabriel Metsu, New Haven: Yale University Press, 2010, pp. 29-52.
Wheelock, Arthur K. Jan Vermeer, New York: Abrams, 1988.
Wheelock, Arthur K., ed. Johannes Vermeer, Washington: National Gallery of Art ; The Hauge: Royal Cabinet of Paintings Mauritshuis; New Haven: Yale University Press, 1995.
Valentiner, W. R. “Paintings by Dutch Master: Preface,” in The Hudson-Fulton Celebration: Catalogue of an Exhibition Held in the Metropolitan Museum of Art, New York: the Metropolitan Museum of Art, 1909.
Zimmermann, Michael F. ed. The art historian: national traditions and institutional practices, Williamstown, Mass.: Sterling and Francine Clark Art Institute; New Haven: Distributed by Yale University Press, 2003.
西文期刊
Alpers, Svetlana. “The Strangeness of Vermeer,” Art in America, vol. 84 (May, 1996), pp. 63-68.
van der Bas, Cornelis, “The Muilman Collection: The Progressive Taste of an Eighteenth-Century Banking Family,” Simiolus: Netherlands Quarterly for the History of Art, Vol. 32, No. 2/3 (2006), pp. 156-181.
Boone, Elizabeth M. “Gilded Age Values and a Golden Age Painter: American Perceptions of Jan Vermeer,” Rutgers Art Review 12-13 (1991-1992), pp. 47-68.
Brown, Christopher, “Revising the Canon: The Collector′s Point of View,” Simiolus: Netherlands Quarterly for the History of Art, Vol. 26, No. 3 (1998), pp. 201-212.
Chapman, Perry H. “Persona and Myth in Houbraken′s Life of Jan Steen,” The Art Bulletin, Vol. 75, No. 1 (Mar., 1993), pp. 135-150.
Cornelis, Bart. “Arnold Houbraken′s ‘Groote Schouburgh’ and the Canon of Seventeenth-Century DutchPainting,” Simiolus: Netherlands Quarterly for the History of Art, Vol. 26, No. 3 (1998), pp. 144-161.
——. “A Reassessment of Arnold Houbraken′s ‘Groote schouburgh,’” Simiolus: Netherlands Quarterly for the History of Art, Vol. 23, No. 2/3 (1995), pp. 163-180.
Cortissoz, Royal. “Old Dutch Masters,” from the Tribune, September 19, 1909 in The Metropolitan Museum of Art Bulletin, Vol. 4, No. 10 (Oct., 1909), pp. 161-167, 176-178.
Cox, Kenyon. “Dutch Pictures in the Hudson-Fulton Exhibition-II,” The Burlington Magazine for Connoisseurs, Vol. 16, No. 82 (Jan., 1910), pp. 244-246.
Fry, Roger. “At the Dutch Exhibition,” The Burlington Magazine for Connoisseurs, Vol. 54, No. 311 (Feb., 1929), pp. 52, 54-55, 57-59, 62-64, 66-67.
Gardner, Elizabeth E. “Thoré′s Sphinx,” The Metropolitan Museum of Art Bulletin, New Series, Vol. 7, No. 3 (Nov., 1948), pp. 73-78.
Hecht, Peter. “Rembrandt and Raphael Back to Back: The Contribution of Thoré,” Simiolus: Netherlands Quarterly for the History of Art, Vol. 26, No. 3 (1998), pp. 162-178.
Jowell, Frances Suzman. “Thoré-Bürger - a Critical Rôle in the Art Market,” The Burlington Magazine, Vol. 138, No. 1115 (Feb., 1996), pp. 115-129.
——. “Thoré-Bürger′s Art Collection: ‘A Rather Unusual Gallery of Bric-à-Brac’,” Netherlands Quarterly for the History of Art, Vol. 30, No. 1/2 (2003), pp. 54-119.
Littlejohn, David. “What′s So Great about Vermeer?” The Hudson Review (June, 1996), pp. 259-272.
Maës, Gaëtane. “Dutch art collections and connoisseurship in the eighteenth century: the contributions of Dezallier d′Argenville and Descamps,” Simiolus: Netherlands Quarterly for the History of Art, Vol. 34, No. 3/4 (2009/2010), pp. 226-238.
Melion, Walter S. “Karel van Mander’s Life of Goltzius: defining the paradigm of protean virtuosity in Haarlem around 1600,” Studies in the History of Art (1989), pp. 113-133.
Meltzoff, Stanley. “The Rediscovery of Vermeer,” Marysas, Vol. 2 (1942), pp. 145-166.
Michel, Patrick,”Dezallier d′Argenville′s ”Abrégé de la vie des plus fameux peintres”: a guide for contemporarycollectors or a survey of the taste for paintings of the northern schools? ,” Simiolus: Netherlands Quarterly for the History of Art, Vol. 34, No. 3/4 (2009/2010), pp. 212-225.
Montias, John Michael. “Vermeer′s Clients and Patrons,” The Art Bulletin, Vol. 69, No. 1 (Mar., 1987), pp. 68-76.
Priem, Ruud. “The ‘Most Excellent Collection’ of Lucretia Johanna van Winter: The Years 1809-22, with a Catalogue of the Works Purchased,” Netherlands Quarterly for the History of Art, Vol. 25, No. 2/3 (1997), pp. 103-196.
——. “Catalogue of Old Master Paintings Acquired by Lucretia Johanna van Winter,” Netherlands Quarterly for the History of Art, Vol. 25, No. 2/3 (1997), pp. 197-230.
Quodbach, Esmée, “The Age of Rembrandt: Dutch Paintings in the Metropolitan Museum of Art,” The Metropolitan Museum of Art Bulletin, New Series, Vol. 65, No. 1, The Age of Rembrandt: Dutch Paintings in the Metropolitan Museum of Art (Summer, 2007), pp. 1, 4-72.
Witt, Robert. “The Dutch Exhibition at the Royal Academy,” The Burlington Magazine for Connoisseurs, Vol. 54, No. 310 (Jan., 1929), pp. 2-5, 8-9, 11, 14, 17.
中文書目
Brook, Timothy（著），黃中憲（譯），《維梅爾的帽子：從一幅畫看十七世紀全球貿易》（Vermeer′s Hat: The Seventeenth Century and The Dawn of The Global World），台北：遠流，初版，2008。
Eagleton, Catherine、Williams, Jonathan（著），周全（譯），《金錢的歷史》（Money a History），台北：博雅書屋，初版，2009。
Lopez, Jonathan（著），陳雅雯（譯），《不存在的維梅爾：偽畫家、藝術史家、犯罪集團和納粹合力搬演的世紀騙局》（The Man Who Made Vermeers: Unvarnishing the Legend of Master Forger Han van Meegeren），新北市：大家出版，初版，2012。
Zuffi, Stefano（著），謝佳娟（譯），《維梅爾》（Vermeer），台北：木馬文化，初版，2002。
學位論文
黃韻璇，《公共理念的實踐：1824至1865年早期倫敦國家畫廊的定位與革新》，國立中央大學藝術學研究所，碩士論文，2013年。
網站
1. Essential Vermeer < http://www.essentialvermeer.com/index.html >
2. Art History Unstuffed
3. American Libraries < https://archive.org/details/americana >
4. Oxford Art Online < http://www.oxfordartonline.com>
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