As a painter of the Dutch Golden Age and a pivotal figure in the Northern Renaissance, Vermeer’s oeuvre inaugurated a maritime modernity in the wake of the Protestant Reformation through its odes and elegies to quotidian existence. This essay centers on Vermeer’s masterpiece, Woman Holding a Balance. It scrutinizes and probes the Baroque theater of the soul as depicted by Vermeer through the lens of a post-global, post-colonial Lebenswelt. Grounded in Deleuze’s The Fold, this essay endeavors to furnish a phenomenological and genealogical hermeneutic for Vermeer’s interior scenes. It does so by dissecting Vermeer’s theater of silence, his intrinsic use of light, the female figure behind the fabric, the politics of still life, and the theology and interplay of color. In so doing, this essay aspires to unearth the dialectical, oscillating utopian potential embedded within Vermeer’s imagery.
Yi Wu (Sun,) studied this question.