Question: What artist admired Vermeer?
About the article "Johannes Vermeer", section "Rediscovery and legacy".

Candidate passages:
Jones was born and raised in Atlanta, Georgia.
As a child, her father was overseas in the military.
She was a graduate of Georgia State College and admired the work of Johannes Vermeer, Giovanni Battista Tiepolo, and Rembrandt. 
The Geographer is a painting created by Dutch artist Johannes Vermeer in 1668–1669, and is now in the collection of the Städelsches Kunstinstitut museum in Frankfurt, Germany. 
Some critics have thought the painting is atypical of Vermeer's style and expression.
Pieter Swillens wrote in 1950 that—if the work was by Vermeer at all—it showed the artist "seeking and groping" to find a suitable mode of expression.
Eduard Trautscholdt wrote 10 years before that "The temperament of the 24-year-old Vermeer fully emerges for the first time" '" 
Responding to the internet medium, Janson created a website called "Essential Vermeer" in 2001.
"Essential Vermeer "has developed into the primary internet resource for Vermeer studies and the most comprehensive website dedicated to a single painter.
"Essential Vermeer" presents a balanced in-depth study of the life, art and cultural milieu of Johannes Vermeer comprising hundreds of web pages, thousands of images, collaborative studies, interviews with Vermeer notables and multi-media features.
The site includes a complete interactive catalogue of the Dutch artist which permits the navigator to access extensive information on each work using images mapping and expandable topic boxes.
Janson issues a free newsletter which keeps thousands of subscribers informed about Vermeer-related exhibitions, publications and multi-media events.
Janson’s commitment has brought the "Essential Vermeer" to the attention of art historians and specialists in 17th-century Dutch art as well as writers who use it regularly as a reference point.
He travels extensively and is in constant contact with museum personnel and art historians involved with Dutch genre painting and specifically with the work of Vermeer. 
According to Arthur K. Wheelock Jr., the painting "has no visual precedent".
As a depiction of Diana, the painting is notable in part for what it does not depict—neither Actaeon catching sight of Diana and her nymphs bathing nor the actual moment when Callisto's pregnancy is revealed, both popular themes in mannerist painting in the early 17th century.
Nor does the artist show Diana's hot temper or her harsh reactions to those episodes.
The goddess's ability as a huntress is not signalled by dead game or bows and arrows.
Even the dog is depicted as a gentle animal, not like the fast hounds normally seen in paintings of Diana.
Nor does the painting use Diana as an allegorical portrait, a tradition for which had developed by the mid-17th century, with identifiable women depicted as the goddess, who was also a symbol of chastity.
An example of this tradition is "Diana and Her Nymphs", painted by Jacob van Loo in Amsterdam around 1650, about five or six years before Vermeer's work.
(Vermeer's "Diana" has frequently been compared to van Loo's.
In van Loo's painting, Diana also sits in a forest clearing with a small group of companions, but the mood is very different.
The similarities between Vermeer's painting and Rembrandt's style are close enough that the work was attributed to Rembrandt's student, Nicolaes Maes when auctioned in 1876.
Vermeer's signature on the painting had been altered, making it look like Maes'.
During a restoration the original signature of J. v. Meer was faintly discernible, though this was ascribed to the Utrecht artist Johannes van der Meet.
Vermeer is known to have incorporated other artists' ideas, techniques and the poses in which they depict subjects.
Some features of "Diana" share the effects and techniques of Rembrandt.
Diana's stout figure is much like those in Rembrandt's work, and Vermeer used thick impasto brushwork following the lines of the folds of her clothing, as Rembrandt did.
Also like Rembrandt, Vermeer cast the faces of the group in shadows, which gives a more expressive, moodier cast to the scene.
Vermeer's painting is very similar in feeling to Rembrandt's "Bathsheba", painted in 1654, a work Vermeer very likely saw firsthand, according to Wheelock.
The poses of the woman whose feet is washed and the one doing the washing are similar.
It is possible that Rembrandt's former pupil, Carel Fabritius (in Delft from 1650 until his death in late 1654), may have made Vermeer familiar with Rembrandt's work.
Doubts about the attribution of the painting remained until about 1901, the year Abraham Bredius and Willem Martin, deputy director of the Mauritshuis, discovered its similarities in coloring and technique with "Martha and Mary", which was signed by Vermeer, and in colors with "The Procuress", another very early Vermeer work.