Later he refers to this artist's rendering of life as "captured in all its cryptic contingency." The repetitive use of this adjective is very cryptic indeed.

In his description of Ter Borch's innovative techniques and discoveries Gopnik offers this explanation: Observing "light bouncing from form to form and then into our eye, then coming up with surrogates for them using a handful of pigments."

With the exception of two painting done with collaborators, these paintings are rather dark. Vermeer's subtle, light infused paintings are their antithesis. What Gopnik has described is the painting process in generic terms rather than some unique 17th century development.

Continuing he exclaims the kind of "micro-bravura" (a phrase that seems to be an oxymoron) that Ter Borch provides should thrill us as much as the "macro-virtuosity" of a Hals or Rembrandt.

What these terms mean I can't attest to. Except for the fact they are all of Dutch origin lumping together these artists with such different painting styles is unclear.

To solidify his case for Ter Borch's superiority over contemporaries like Vermeer, he suggests it necessary to put ourselves in the shoes of a "17th century art lover."

Whoever that may be.

If we have to do that, and as he states, "rejecting modernism's hackneyed taste for the capricious," we are dealing with an artist who cannot transcend his own era much less achieve the timelessness and universal appeal that is the acknowledged mark of a true master. In other words we can't just merely be our selves to fully appreciate this art. We must have the specific perspective of an "art lover" four centuries ago. Maybe he's just suggesting that may help.

It is Gopnik's prerogative to champion anyone. Pairing two painters like a couple of racehorses might have proved interesting if a case was made.

Painting isn't a competition anyway. Perhaps posterity's fickle spotlight will further illuminate this particular artist's reputation. Despite Gopnik's wish I have a hunch there won't be long lines eager to gain entry to see this show unlike exhibitions in the recent past by a couple of other dead Dutch guys.Professor, Therein lies the key to Gopnik's attempt to bring Vermeer down a notch or two: The public loves Vermeer and lines up for hours to see his paintings. In the mind of old-fashioned elitists like Gopnik, if the public likes something or someone, then it can't be any good.

Bravo Godwin!