Balthasar Claes Gerrits, Vermeer's maternal grandfather, is born in Antwerp. He later moved to the northern provinces, possibly passing through Delft, and eventually settled in Amsterdam.

Johannes Vermeer, the renowned Dutch painter, was baptized in Delft's Nieuwe Kerk in 1591. The baptism was witnessed by the notable Delft painter Leonaert Bramer.

In 1597, a deed witnessed by a notary in Delft shows Jan Reyerszoon, Vermeer's paternal grandfather, relinquishing a debt acknowledgment in exchange for cash to someone living outside the town.

From 1611 onwards, Claes Corstiaensz. is referred to as Master Claes, musician, in notarial documents. He leaves behind six musical instruments for his son Dirck, including a lute, trombone, shawn, viols, and a cornet, which were likely inherited from Claes and played by the family.

On June 27, 1615, Vermeer's father marries Digna Baltens in Amsterdam. Digna initially signs with a cross, indicating she was unmarried, but later learns to sign her name in full. The marriage is officially performed on July 18, with Reynier Jansz. being 24 years old.

In 1615, Vermeer's father, a silk weaver, married Digna Baltens in Amsterdam. The marriage was significant as Digna initially signed documents with a cross, indicating her illiteracy, but later learned to sign her full name. This event sheds light on the personal life of Vermeer's family during the early 17th century.

After the death of her second husband, Claes Corstiaensz., in 1617, Neeltge Goris started a new career as a mattress-maker, selling feather beds and quilts. She also took on tasks such as winding up estates and running lotteries to support herself.

Vermeer's maternal grandfather, Balthasar Gerrits, faced trouble in the early 1620s in The Hague due to his involvement in a counterfeiting scheme with a group that led to arrests and beheadings. Despite being interrogated, Balthasar and his son were eventually released after providing evidence against their employers.

In 1620, Vermeer's parents, Reynier Jansz and Digna Baltens, baptized their first child, Gertruy, in Delft.

On January 8, 1622, Reynier Cornelisz. Bolnes and Maria Thins, both from Gouda, got married before the Aldermen in Gouda. Catharina Bolnes, who later became Vermeer's wife, was a child of this union.

In January 1625, Reynier Jansz. Bolnes was named as a witness in a document and signed as 'Reyn'ier Jansz. Voos,' marking the first known use of the last name Vos.

In 1628, Leonaert Bramer, friend of Vermeer's family and believed by some to have been Vermeer's master, returns to Delft after a visit to Italy.

Vermeer's father became an art dealer and joined the Delft artists' guild on October 13, 1631. Before this, he worked as an innkeeper, a profession often linked to art dealing. He was also mentioned in a notary document as a silk worker.

Johannes Vermeer was born and baptized on October 31, 1632.

Johannes Vermeer, the renowned Dutch painter, turns 1 year old in 1633.

In 1634, Vermeer's father, Jansz Vos, who was a tapster and silkworker, was mentioned as living in 'The Flying Fox,' an inn in Delft that he had leased. The inn's name is believed to be derived from the surname 'Vos,' which means fox.

In 1637, the famous Dutch painter Johannes Vermeer was 5 years old, but no specific events are recorded about his life during this year.

In 1639, the famous Dutch painter Johannes Vermeer was 7 years old, marking an early stage in his life before he became renowned for his exceptional artistic talent.

In 1640, Reynier Jansz. residing at Voldersgracht added the last name 'Vermeer' to his signature for the first time. The reason for this name change remains unknown.

In 1641, Reynier Janz. Vos purchased the heavily mortgaged 'Mechelen' inn in Delft for 2,700 guilders. The inn's location attracted customers from the middle classes and provided a meeting place for artists and collectors.

Reynier Jansz. appears as a witness, signing with his last name 'Vosch' in front of the notary and acquaintance of Vermeer family, Willem de Langue.

Gertruy, Vermeer's sister, marries Antony van der Wiel, a Delft ebony worker and frame-maker. They go to live in a house called 'De Molen' in the Vlamingstraat, east of the Nieuwe Kerk.

Vermeer's father, Reynier Janz. Vos, is buried at the age of 61 in the Nieuwe Kerk, Delft.

In January 1653, Johannes Vermeer created the painting 'Diana and her Companions'.

On April 5, 1653, Vermeer marries Catharina Bolnes, a member of a respected Catholic family from Gouda. The marriage witnesses include prominent figures like Leonaert Bramer. The event signifies a significant personal milestone in Vermeer's life.

Vermeer's marriage was documented in the vellum-bound registers of Delft's Old and New Churches, offering sparse glimpses into his life.

On April 24, 1653, Johannes Vermeer married Catharine Bolnes from a wealthy higher class Catholic family.

Vermeer registered as a master painter in the Delft Guild of Saint Luke on December 29, 1653. Little is known about his artistic training and early influences, including the identity of his master(s) and the period of his apprenticeship.

Vermeer serves as a witness to a notarized obligation of debt and is described as a 'master painter'.

On December 14, 1655, Vermeer and his wife become secondary sureties for a debt incurred by the deceased Reynier Jansz. Vos. The document is signed by Vermeer as 'Johannes Reijninjersz Vermeer.'

Vermeer, a Catholic, is believed to have converted to Catholicism after marrying Catharina, who was from a well-known family in Gouda. It is speculated that he distanced himself from his lower-class family after the marriage, as none of their fifteen children were documented with their parents' names.

On June 27, 1657, the inventory of the Amsterdam-based art dealer Johannes de Renialme lists 'een graf besoeckende van der Meer...' (a Visit to the Tomb by Van der Meer [Vermeer]).

On November 30, 1657, Vermeer and his wife acknowledge a debt of 200 guilders to Pieter Claesz van Ruijven, marking the beginning of a significant patron-artist relationship.

Vermeer's painting 'The Little Street' from 1658 is a departure from his usual interior scenes, depicting a street view with meticulous attention to detail and atmosphere.

Vermeer's genre painting, Girl Reading a Letter at an Open Window, depicts a young woman reading a letter in a quiet space filled with radiant light. The influence of Gerard Terborch is evident in the texture and domestic setting.

A painting created in 1660 depicting a cityscape of Delft, Netherlands.

On December 27, 1660, a child of Johannes Vermeer living on the Oude Langedijck is buried in the Old Church (Oude Kerk) in Delft, providing evidence that Vermeer and his family were residing in Maria Thins' home.

In December 1661, another of Vermeer's children is buried in the Oude Kerk, in a grave bought by their grandmother Maria Thins.

On May 15, 1662, Maria Thins, the mother-in-law of Vermeer, revises her will originally made in 1657. She includes provisions for her daughter Catharina, goddaughter Maria, and Vermeer's children, as well as granting Vermeer an annual sum of 50 gulden.

On October 18, 1662, Vermeer is appointed as the vice-dean of his guild, leading to a revision of the apprenticeship enrollment fee to boost financial resources.

French art enthusiast and alchemist Balthasar de Monconys visits Vermeer in Delft and notes in his diary that he finds the asking prices for paintings in Holland excessively high.

Vermeer is elected dean of the painter's guild in Delft for a one-year term.

On November 12, 1663, Vermeer is recorded as an outgoing headman of the Guild of Saint Luke in Delft. The incoming headman is Anthonie Palamadesz, a well-known painter specializing in interior scenes. This transition signifies the dynamic artistic community in Delft during that period.

A masterpiece by Johannes Vermeer showing a woman holding a balance, symbolizing themes of judgment and moderation.

A famous painting by Johannes Vermeer depicting a young woman wearing a turban and a large pearl earring.

On January 13, 1665, Maria Thins was appointed as the guardian of the estate of her son, Willem Bolnes. This legal appointment signified the responsibility she held over her son's affairs.

A renowned painting by Johannes Vermeer portraying an artist at work in his studio, reflecting on the nature of art and creativity.

In July 1667, one of Vermeer's children is buried in the Nieuwe Kerk in Delft.

On September 27, 1667, Maria Thins, Vermeer's mother-in-law, makes a testament leaving the majority of her goods to her daughter Catharina Bolnes, Vermeer's wife, and a smaller portion to her son Willem Bolnes due to his misbehavior.

In 1668, Vermeer paints, signs, and dates The Astronomer.

On February 13, 1669, Vermeer's mother, Digna Balthens, is buried in the Nieuwe Kerk.

On May 2, 1669, Vermeer's sister, Gertruy Reynier Vermeer, is buried, leaving Vermeer without the two women who had brought him up.

On July 13, 1669, Vermeer inherits Mechelen from his mother.

On February 13, 1670, Vermeer's mother passes away at her Vlamingstraat residence.

On July 13, 1670, Vermeer inherits the Mechelen inn located on the Market Square.

In 1670, Vermeer is appointed as one of the two representatives of the painters in the Guild of Saint Luke in Delft. The Guild's artists were not as numerous as before, but Vermeer took on his guild duties amidst life's challenges.

In 1671, Vermeer is listed as the outgoing headman of the Guild of Saint Luke in Delft, with Cornelis de Man becoming the incoming headman.

Vermeer leases the Mechelen to an apothecary for six years, showcasing his involvement in business activities alongside his artistic pursuits.

Vermeer, along with other painters, assesses a collection of Italian paintings in The Hague, contributing to the resolution of a dispute between an art dealer and a potential buyer.

Another child of Vermeer and his wife is buried in the Old Church in Delft, reflecting the personal challenges faced by the artist during this period.

On June 27, 1673, another child of Vermeer is buried in the family grave purchased by Maria Thins in the Oude Kerk.

In July 1673, Vermeer sells bonds worth eight hundred guilders and appears before the magistrates of Gouda to collect part of an inheritance from an aunt of Maria Thins.

In 1674, Vermeer's name is recorded in the Delft militia register. His oldest daughter Maria marries Johannes Gillisz Cramer, a silk merchant. Vermeer also settles his late father-in-law's affairs in Gouda.

In 1675, Vermeer borrowed 1,000 guilders in Amsterdam, using a restricted obligation as collateral. This financial transaction was significant in Vermeer's life.

On December 1, 1675, Johannes Vermeer was buried in the Oude Kerk in Delft. The funeral was elaborate, involving fourteen pallbearers and tolling of the church bell, indicating a significant financial expenditure.

Johannes Vermeer, the renowned Dutch painter, died at the age of 43 after facing financial pressures and the collapse of the art market during the war with France. His wife attributed his death to stress and financial difficulties.

On December 16, 1675, the renowned Dutch painter Johannes Vermeer passed away in Delft. Vermeer was a member of the Saint Luke's Guild, which required painters to undergo a six-year apprenticeship with a master painter. By being part of the guild, Vermeer was able to sign and sell his own paintings.

Catharina Bolnes sells two of her late husband's paintings to Hendrick van Buyten to settle a debt of 617 guilders 6 stuivers on January 26.

An inventory of movable objects from Vermeer's estate is compiled on February 20. Anthonie Leeuwenhoek, inventor of the microscope, is appointed executor of the estate.

An inventory of movable objects from Vermeer's estate was compiled. Anthonie Leeuwenhoek, the inventor of the microscope, was appointed as the executor of Vermeer's estate.

Vermeer's brother-in-law Willem Bolnes is buried on March 25.

On September 30, the Lords Aldermen of Delft appoint Antonie van Leeuwenhoek, inventor of the microscope, as the executor of Vermeer's estate.

Leeuwenhoek appears before the Lords Aldermen of Delft on February 2 to settle Vermeer's debt with Jannetje Stevens.

Anthonie Leeuwenhoek settled Vermeer's debt with Jannetje Stevens and transferred back twenty-six paintings to Vermeer's estate. A public sale of the paintings, including 'The Art of Painting', took place in the Guild Hall of Saint Luke.

A public sale of Vermeer's paintings is planned in the Guild Hall on March 15. Maria Thins objects to including 'The Art of Painting' in the sale.

After Maria Thins' burial in December, her daughter Catharina inherits her assets.

Following the death of Maria de Knuijt and Pieter van Ruijven, Jacob Dissius draws up an inventory of his possessions, owning 19 Vermeers.

The estate of Jacob Abrahamsz. Dissius and Magdalena van Ruijven, including twenty paintings by Vermeer, is divided between Jacob Dissius and his father, Abraham Dissius in 1685.

Vermeer's works were largely overlooked for two centuries after his death until German museum director Gustav Waagen rediscovered his painting The Art of Painting in 1860, previously attributed to Pieter de Hooch.

Théophile Thoré-Bürger published a catalogue raisonné of Vermeer's works in 1866 in the Gazette des Beaux-Arts, listing more than 70 works by the artist and drawing international attention to Vermeer.

Ary Bob de Vries published a book titled 'Jan Vermeer van Delft' in 1939 as part of the Bibliotheek der Nederlandsche Kunst series.

Ary Bob de Vries published a book titled Jan Vermeer van Delft, which was later translated by Robert Allen. The revised edition was released in London and New York in 1948.

P.T.A. Swillens published a book titled Johannes Vermeer: Painter of Delft 1632-1675 in Utrecht in 1950. The book was later translated by C.M. Breuning-Williamson.

On the evening of 23 September 1971, a 21-year-old hotel waiter, Mario Pierre Roymans, stole Vermeer's Love Letter from the Fine Arts Palace in Brussels where it was on loan from the Rijksmuseum for the exhibition Rembrandt and his Age.

Albert Blankert, along with contributions by Rob Ruurs and Willem L. van de Watering, published a book titled Johannes Vermeer van Delft 1632-1675 in Utrecht and Antwerp in 1975. An English edition titled Vermeer of Delft: Complete Edition of the Paintings was also released in Oxford in 1978.

Arthur K. Wheelock, Jr. published a book titled Jan Vermeer in New York in 1981. A second revised edition was released in 1989.

John Michael Montias published 'Artists and Artisans in Delft: A Socio-Economic Study of the Seventeenth Century' in 1982, providing additional details about Johannes Vermeer's family and life in Delft.

Gilles Aillaud, Albert Blankert, and John Michael Montias published a book titled Vermeer in Paris in 1986. An English edition was also released in New York in 1988.

Arthur K. Wheelock Jr. published 'Jan Vermeer' in 1988, shedding light on the life and art of Vermeer.

John Michael Montias' book, Vermeer and His Milieu: A Web of Social History, published in 1989, sheds light on Vermeer's life and social environment, becoming a foundational work for further research on the artist.

In 1995, an exhibition dedicated to Johannes Vermeer was held at Yale University. The exhibition showcased the works of Vermeer and provided insights into his artistic style and techniques.

A collection of symposium papers titled 'Vermeer Studies' edited by Ivan Gaskell and Michiel Jonker was published in Washington, D.C. in 1998.

Tracy Chevalier's novel 'Girl with a Pearl Earring' (1999), and the 2003 film of the same name, present a fictional account of Vermeer's creation of the famous painting and his relationship with the model.

In 2001, British artist David Hockney published the book Secret Knowledge, proposing the theory that Vermeer and other artists used optics like curved mirrors, camera obscura, and camera lucida to achieve precise positioning in their compositions.

In 2002, Philip Steadman published 'Vermeer's Camera, the truth behind the masterpieces' revealing insights into Vermeer's artistic techniques.

In October 2003, Walter Liedtke wrote an essay on the Dutch painter Johannes Vermeer, shedding light on his life and works during the 17th century.

In 2007, Walter Liedtke published a book titled 'Dutch Paintings in The Metropolitan Museum of Art', which includes valuable insights into Dutch art, including works by Johannes Vermeer.

In 2008, Tim Jenison developed a theory that Vermeer used a camera obscura along with a 'comparator mirror' or a concave mirror to match color values, which he tested by recreating The Music Lesson painting in the documentary film Tim's Vermeer.

In August 2009, Walter Liedtke explored the iconic painting 'The Milkmaid' by Johannes Vermeer, offering interpretations and analysis of this masterpiece.

A detailed exploration of Vermeer's paintings by Gary Schwartz.

An edited collection by W. Franits that serves as a companion to understanding Vermeer's work.

The 'Vermeer and the Masters of Genre Painting: Inspiration and Rivalry' exhibition took place at the National Gallery of Art, Washington, D.C. from October 22, 2017 to January 21, 2018, showcasing Vermeer's influence and relationships with other genre painters.

To mark the 26th anniversary of the opening of an exhibition at Washington, DC's National Gallery of Art featuring his work, Google honored Vermeer with a Google Doodle on 12 November 2021.

In 2023, an exhibition at the Rijksmuseum in Amsterdam featured 28 of Vermeer's works, the most ever shown together. Over 650,000 people visited the exhibition, making it the museum's most visited exhibition.