Rediscovery and legacy
The 1934 Vermeer painting, who was also inlcude?
Johannes Vermeer
Vermeer Dutch Chocolate Cream Liqueur Johannes Vermeer Johannes Vermeer The Art of Painting The Ghost of Vermeer of Delft Which Can Be Used As a Table
Vermeer_Dutch_Chocolate_Cream_Liqueur-Abstract Johannes_Vermeer-References_in_other_media Johannes_Vermeer-Rediscovery_and_legacy The_Art_of_Painting-History The_Ghost_of_Vermeer_of_Delft_Which_Can_Be_Used_As_a_Table-Related_works
Vermeer Dutch Chocolate Cream Liqueur is a sweet liqueur made of Dutch chocolate, cream, and vodka. It was created by Maurice Kanbar who tested it for five years before presenting the liqueur to the public in 2001. Vermeer is 34 U.S. proof (17% alcohol by volume) and the bottles are labeled with an image of Johannes Vermeer's "Girl with a Pearl Earring". Kanbar, who also developed SKYY vodka, wanted to create "a liqueur as perfect as a Vermeer painting." The Vermeer liqueur benefited from the popularity of chocolate in the early 2000s, and was included in the "Chocolate Shows" (held annually in New York City since 1998) of 2001 and 2002. Vermeer is served with ice on the rocks, or it can be mixed in a chocolate martini cocktail or added to coffee or hot chocolate. It is also used to create sauces, such as for ice cream. 
In the first volume of Marcel Proust's novel "In Search of Lost Time", entitled "Swann's Way", the protagonist Charles Swann is said to be working on an extended essay concerning Vermeer's art. In addition, Vermeer's "View of Delft" features in a pivotal sequence of a later volume, "The Captive", in the same work. A Vermeer painting plays a key part of the dénouement in Agatha Christie's "After the Funeral" (1953). Susan Vreeland's novel "Girl in Hyacinthe Blue" follows eight individuals with a relationship to a painting of Vermeer. The young adult novel "Chasing Vermeer" by Blue Balliett centers around the fictitious theft of Vermeer's "A Lady Writing". J.P. Smith's novel, "The Discovery of Light", deals largely with Vermeer. The character of Barney, in Thomas Harris's novel "Hannibal" (1999), has a goal to see every Vermeer painting in the world before he dies. Tracy Chevalier's novel "Girl with a Pearl Earring" and the film of the same name (2003) are named after the painting; they present a fictional account of its creation by Vermeer and his relationship with the (equally fictional) model. The film was nominated for Oscars in cinematography, art direction, and costume design. Peter Greenaway's film "A Zed & Two Noughts" (1985) contains a plot line about an orthopedic surgeon named Van Meegeren who stages highly exact scenes from Vermeer paintings in order to paint copies of them. The Dutch composer Louis Andriessen based his opera "Writing to Vermeer" (1997–98, libretto by Peter Greenaway) on the domestic life of Vermeer. The song "No One Was Like Vermeer" from the 2008 album Because Her Beauty Is Raw and Wild by Boston singer-songwriter Jonathan Richman pays tribute to Vermeer's painstaking technique. Richman also references Vermeer in his song "Vincent Van Gogh" and both songs are frequently part of Richman's live performances. "Jan Vermeer" is a rockabilly song written by Bob Walkenhorst for his solo album "The Beginner". David Olney's song "Mister Vermeer" on his 2010 album "Dutchman's Curve" imagines Vermeer's unrequited love for the subject of Girl with a Pearl Earring. Historian Timothy Brook's "" (2007) examines six of Vermeer's paintings for evidence of world trade and globalization during the Dutch Golden Age. The 2013 documentary film "Tim's Vermeer" follows inventor Tim Jenison's examination on his theory that Vermeer used optical devices to assist in generating his realistic images 
For two centuries after Vermeer's death, his works were appreciated by a number of connoisseurs in Holland—although attributed in many cases to better-known artists such as Metsu or Mieris—but were largely overlooked by art historians. The Delft master's modern rediscovery began about 1860, when the German museum director Gustav Waagen saw "The Art of Painting" in the Czernin gallery in Vienna, and recognized as a Vermeer the work which was at that time attributed to Pieter de Hooch. Research by Théophile Thoré-Bürger culminated in the publication in 1866 of his catalogue raisonné of Vermeer's works in the "Gazette des Beaux-Arts". Thoré-Bürger's catalogue, which drew international attention to Vermeer, listed more than seventy works by Vermeer, including many he regarded as uncertain. The accepted number of Vermeer's paintings today is thirty-four. Upon the rediscovery of Vermeer's work, several prominent Dutch artists, including Simon Duiker, modelled their style on his work. Other artists who were inspired by Vermeer include the Danish painter Wilhelm Hammershoi and the American Thomas Wilmer Dewing. In the 20th century, Vermeer's admirers included Salvador Dalí, who painted his own version of "The Lacemaker" and pitted large copies of the original against a rhinoceros in some now-famous surrealist experiments. Dali also immortalized the Dutch Master in "The Ghost of Vermeer of Delft Which Can Be Used As a Table", 1934. Han van Meegeren was a 20th-century Dutch painter who worked in the classical tradition. Motivated by a blend of aesthetic and financial reasons, van Meegeren became a master forger, creating and selling many new 'Vermeers' before being caught and tried.
The painting is considered a work with significance for the artist because the painter himself did not part with it or sell it, even when he was in debt. In 1676, his widow Catharina bequeathed it to her mother, Maria Thins, in an attempt to avoid the sale of the painting to satisfy creditors. The executor of Vermeer's estate, the famous Delft microscopist Anton van Leeuwenhoek, determined that the transferral of the work to the late painter's mother-in-law was illegal. It is not known who owned the painting for most of the 18th century. It ultimately was acquired by the eminent Dutch physician Gerard van Swieten. The painting was then inherited by Gerard's also-famous son Gottfried van Swieten, and later passed into the hands of Gottfried's heirs. In 1813 it was purchased for 50 florins by the Bohemian-Austrian Count Czernin. Until 1860, the painting was considered to be by Vermeer's contemporary Pieter de Hooch; Vermeer was little known until the late 19th century. Pieter's signature was even forged on the painting. It was at the intervention of French Vermeer scholar, Thoré Bürger and the German art historian Gustav Friedrich Waagen that it was recognised as a Vermeer original. It was placed on public display in the Czernin Museum in Vienna. Andrew W. Mellon and others tried to buy the painting. 
Around 1934, Dalí produced several other works inspired by "The Art of Painting":  "Masquerader, Intoxicated by the Limpid Atmosphere" (private collection)  "The Ghost of Vermeer of Delft" (private collection, Switzerland)  "Enigmatic Elements in a Landscape" (Fundació Gala-Salvador Dalí, Figueres)  "Spectre of Vermeer's Chair" (private collection)  Dalí revered Vermeer, and also drew several times on his Lacemaker, for instance in "Paranoiac-Critical Study of Vermeer's Lacemaker". "The Ghost of Vermeer" should also be seen in the context of his other reworkings of historic paintings, such as several works inspired by Millet's "Angelus". Images of anthropomorphic furniture as well as crutch-like objects are common in this period of his career. 