Just published, a special issue of Intellectual History Review, edited by Alexander Marr, on the topic of seventeenth-century gallery interiors:

http://www.informaworld.com/smpp/title~db=all~content=g919679010

WESCHLER: Taking it one step further, I would also argue that this is the moment when art starts being art as opposed to being science. For all of your claims that the old man and the woman should be read principally iconographically — that they represent this or they represent that and so forth — there are times when a cigar is only a cigar, and there is something quite moving about that girl asleep on the lap of that old man—something crying out to be seen not just as a symbol, but as a relationship between two human beings. Thirty years from here you’ll be getting Vermeer with his insistence on the substantive presence of the sitter as a person and not as a genre and not as a symbol, not as a puzzle — not as anything other than a person.
And I think that’s already beginning to happen in a time like this. Read more…

In the lunette above the window out over the garden in the Linder Gallery you can make out some people with donkeys’ heads engaged in wanton acts of destruction. They are smashing lutes and globes and removing paintings from the wall. Read more…

The Royal Collection in Windsor Castle contains a drawing (RL 12983) showing the interior of a picture gallery that bears a striking resemblance to the Linder Gallery, showing a similar architectural space. There are some key differences though. For example, the ceiling of the space in the Windsor drawing is flat, and there is a door on the left hand side. The sculpture and astronomical instruments in the drawing appear different from those in the painting. Read more…