Late in 1995, National Gallery of Art curator Arthur K. Wheelock was looking forward to unveiling the exhibit of his career. Johannes Vermeer brought together 22 of the enigmatic Dutch genius’s 35 known paintings. Three centuries had passed since the last time so many Vermeers could be seen in one place.
“That was something nobody ever thought would be possible,” Wheelock, curator of northern baroque paintings, says from his office in the Gallery’s East Building, with a view of the Capitol Dome. “You couldn’t get the loans.” And yet, after eight years of negotiations with museums and private collectors throughout the U.S. and Europe, he was about to make it happen. It would be the apex of a career that began when he’d penned his dissertation on Vermeer more than 20 years earlier. Continue reading