从今天开始为大家翻译首先是Childhood孩提时代

A Timeline of Vermeer's Life - 1632-1640 Childhood

Modern art enthusiasts should always keep in mind the the twentieth-century art world has little in common with that of Johannes Vermeer. There existed no private art galleries, no queuing up to major international exhibits, no critical reviews in newspapers and painfully little art writing at all. Dutch painters wrote next to nothing about themselves or their work since most considered themselves little more than skilled artisans. The Dutch population at large was hardly aware of the "Golden Age of Dutch Painting" in the way we are today and art lovers spoke in different terms about the paintings we so treasure today. The material evidence for seventeenth-century Dutch artists, including Johannes Vermeer, consists chiefly of depositions, business transactional and other documents drawn up by notaries and municipal clerks that force us to consider a person's life from a particular angle closer to his adversarial than to his amicable relations with his fellow men. Notorial depositions such as these give us a partial view of individual personalities not only because they emphasize the controversial side of their activities but because they are by and large woefully one-sided and incomplete. Only major events of Vermeer’s life, baptism, marriage, and burial-were recorded in the vellum-bound registers of the Old or the New Church which are preserved now in the Delft archives.

对现代化作感兴趣的人们应该了解实际上20世纪的画作和维梅尔的作品是有一些共同之处的。不存在私人画廊，也没有那种排队的大型国际展览，更没有报纸上那种吹毛求疵的的评语和痛苦的艺术的经历的写作。荷兰画家们并不写一些关于他们或他们的工作的事，因为大多数人认为他们比熟练技工优越不了太多。荷兰有很多人都不太了解“黄金时代荷兰绘画”其实是和我们的今天的艺术方式之一相同的，对于我们珍惜的作品，爱好者们分成了不同的流派。

After Johannes Vermeer's baptism in 1632, little or nothing is known of the artist himself until he marries Catharina Bolnes in 1653. However, surviving archival from the following years documents provide an interesting picture and while little can be deduced about the artist's personality, his family background and immediate social milieu is failry well defined.John Michael Montias' invaluable Vermeer: A Web of Social History was used for the great part of the information contained in this timeline. Montias' book currently constitutes the basis on which all other research regarding Vermeer's life and immediate social milieu is founded and should be read by anyone interested in Vermeer of the artistic mileau of that period. During the course of his research, Montias was surprised to learn that the scholarship on one of his favorite artists, Vermeer, was far from exhausted. He began a quest to uncover the life of the artist, considered one of the most enigmatic and mysterious. In this book, Montias traced the artist's life through notary records, discovering that Vermeer's grandfather was a convicted counterfeiter; that his grandmother ran illegal lotteries; and that the artist himself fathered 13 children and died at the age of 43, completely destitute.

1632年约翰内斯维米尔受到洗礼后，很少或没有艺术家自己的信息保留，直到1653年他和凯瑟琳娜博尔内斯结婚。不过，幸存的档案从后几年的文件里得到的，文件提供了一个有趣的图片，虽然对于艺术家的个性不足以作出推断，也不能对他的家庭背景和现实的社会环境作出明确界定。

Another colorful book which fleshes out in a highly readable fasion is Vermeer: A View of Delft by Anthony Bailey. Bailey effectively retells much that is known about many of Vermeer's contemporaries, such as the scientist Antoni Van Leeuwenhoek, and speculates on his apparent Catholic faith in the Protestant Netherlands. Organized around individual paintings, Bailey's essay begins with the great gunpowder explosion of 1654 and ends with the reverberations of Vermeer's art in the writings of Marcel Proust and the forgeries of Hans Van Meegeren. Highly recommended for general collections and also for art history collections for its broad view and effective style.In order to insure reasonable loading time, the timeline has been divided into five sections which can be accessed from the upper left-hand corner of each section.

另一个可读的丰富多彩的图书是维米尔本身：安东尼贝利有效再述了。众所周知的与维米尔同时代的许多人，如科学家安东尼范列文虎克，并推测，个别的绘画显示他的天主教信仰是荷兰新教。贝利的散文开始于1654年火药爆炸事件的，结束于在马塞尔普鲁斯特写的关于维米尔的艺术著作的响应和汉斯范米杰瑞的伪造事件。强烈建议一般收藏，也为作为美术史的收藏品，因为其具有的广阔思路和有效方式。

1632: Vermeer' Age, 0 VERMEER'S LIFE & ART Joannis, son of Reynier Jansson (c. 1591-1652) and of Dignum Balthasars (c. 1595-1670) , is baptized in the Nieuwe Kerk in Delft. They had been married for seventeen years. Among the witnesses is a certain Pt. Bramer, perhaps Leonaert Bramer the painter of Delft who 21 years later would witness Vermeer's marriage. The future artist was named for his paternal grandfather, the tailor, Jan Reyersz. His Christian name was favored over the prosaic "Jan" by Catholics and upper-class Protestants. Vermeer's family background would be described today as lower middle-class. Vermeer's mother was illiterate and his father was a hard working man. Vermeer himself never used the name Jan. Nonetheless, most Dutch authors, in the century since his rediscovery, have dubbed him Jan, perhaps unconsciously to bring him closer to the mainstream oi Calvinist culture. Vermeer's father had joined the Delft artists' guild in Oct.13, 1631 as an art dealer. Between 1629 and 1631 Renyier Janz he had been described as an innkeeper. Art-dealing and innkeeping often went hand in hand.Vermeer's father is mentioned in a notary document as a "caffawerker", a silk worker.The population of Delft is 21,000. In 1600 it was 17,5000.

1632年：维米尔年龄， 0 维米尔是Reynier Jansson （1591至1652年）和dignum balthasars （1595至1670年）的儿子，他们已经结婚十七年。证婚人是Pt. Bramer。 也许代尔夫特画家leonaert bramer在21年后成为了维米尔的证婚人。这个未来的艺术家被他的祖父命名，他是裁缝，名字是Jan Reyersz 。他的基督教的名字由天主教徒和上层阶级新教徒而来。维米尔的家庭背景，今天可描述为较低的中产阶层。维米尔的母亲是文盲，他的父亲是一个辛勤工作的男子。维米尔自己从未使用过名字jan,然而，在本世纪重新发现他的荷兰作家们，称他为jan，也许在不知不觉中使他更接近主流加尔文教徒文化。 维米尔的父亲作为一个艺术品经销商在1631年10月13日加入代尔夫特艺术家联盟。1629到1631年间 ，被描述为“客栈老板”。处理艺术并且与大家携手共进。 维米尔的父亲是在提到的公证文件中为“ caffawerker ” ，丝绸工人。 当时代尔夫特人口是21000 。在1600年是17,5000 。

1633: Vermeer' Age, 1 VERMEER'S LIFE & ART Vermeer's father, Reynier, is called to a hearing concerning a brawl in which he and some fellow caffa (silk) workers were involved while playing "kolf" on the ice. Knives had been pulled out following sharp insults among the two parties, but the brawl was momentarily subdued (A Dutch saying at the time was "A hundred Hollanders, a hundred knives"). When it recommenced a certain Cornelis Theunisz was beaten on the head several times. From the raccount it would seem that Reynier and his companions had tried to keep a lid on the violence and all in all, vermeer's faterh was most likely an industrious man who was stronly attached to his kin and through great sacrifice, was willing to provide a costly for his son, Johannes, the future master painter.

1633年：维米尔的年龄，1维米尔的父亲， reynier ，和一些丝绸工人员卷入了在冰上玩kolf事件的争吵。两党相持不下，但打架事件很快被平息（当时的荷兰谚语“有 100 个荷兰人就有100把刀” ） 。theunisz被殴打到头部几次。似乎reynier和他的同伴曾试图为了保证自己的权益而战，维米尔的父亲有可能是最勤奋男子，重视他的亲属，通过巨大的牺牲，愿意为他的儿子努力，约翰内斯，一个未来的伟大画家。

1634: Vermeer' Age, 2 Vermeer's father is mentioned as Jansz Vos, tapster and caffaworker (silkworker) and living in "The Flying Fox," an inn in Delft that he had leased. The name of the inn was taken from the name "Vos" which means fox.

1634年：维米尔的年龄，2维米尔的父亲被提到为jansz Vos， tapster和caffaworker （ 丝绸工人 ）居住在Delft他租赁的飞狐酒店 ，他已租出。客栈名称是取自名称“Vos” ，意思是狐狸

1635: Vermeer' Age, 3 1635-1636 The pestilence claims the lives of nearly 2,000 Delft inhabitants.

1635年：维米尔的年龄，31635年至1636年的瘟疫夺去了近2000名代尔夫特的居民的生命。

后面到1639: Vermeer' Age, 7 无记录