Art Depreciation

The art-show blabbermouth peeves me.

He knows why every artist chose his subjects, what he intended by painting them, and where he ultimately disappoints viewers—and wants everyone in the gallery to know he knows.

Were he right—like a stopped watch—just twice a day, the blabbermouth would deserve a Pulitzer Prize for Criticism.

We should be so lucky.

One of these wearisome windbags trailed me during my visit to Vermeer and the Masters of Genre Painting this week.

At one point she complained for all to hear that the exhibit was a "huge disappointment:" it simply didn't include enough Vermeers.

She doesn't know Vermeer produced only 40 works; that the dozen on display represent a full third of his extant work; or that the show's curators have received universal praise.

"Know how to appreciate," urged the 17th-century Jesuit Baltasar Gracián:

There is none who cannot teach somebody something, and there is none so excellent but he is excelled. To know how to make use of every one is useful knowledge. Wise men appreciate all men, for they see the good in each and know how hard it is to make anything good. Fools depreciate all men, not recognizing the good and selecting the bad.