Johannes Vermeer

TYROWN VINCENT’S
JOHANNES VERMEER
TYROWN VINCENT’S
GIRL WITH THE RED HAT
Girl with a Red Hat is a rather small painting. It is seen as one of a number of Vermeer's tronies – depictions of models fancifully dressed that were not (as far as is known) intended to be portraits of specific, identifiable subjects.

Others believe it is a portrait. Whether Vermeer chose family members as models or found them elsewhere in Delft is irrelevant to the appreciation of his paintings. Its attribution to Vermeer – as it is on a (recycled) wood panel and not on canvas – has been a matter of controversy with scholars on both sides of the argument.
Type
Year
Sizes
Oil on panel
1665–1666
23.2×18.1 cm (9.1×7.1 in)
The Milkmaid
The Milkmaid sometimes called The Kitchen Maid, is an oil-on-canvas painting of a domestic kitchen maid.

The painting is strikingly illusionistic, conveying not just details but a sense of the weight of the woman and the table. «It's a little bit of a Mona Lisa effect» in modern viewers' reactions to the painting, according to Walter Liedtke.
Type
Year
Sizes
Oil on canvas
1657–1661
45.5×41 cm (17.9×16.1 in)
GIRL WITH THE RED HAT
Girl with a Red Hat is a rather small painting. It is seen as one of a number of Vermeer's tronies – depictions of models fancifully dressed that were not (as far as is known) intended to be portraits of specific, identifiable subjects.

Others believe it is a portrait. Whether Vermeer chose family members as models or found them elsewhere in Delft is irrelevant to the appreciation of his paintings. Its attribution to Vermeer – as it is on a (recycled) wood panel and not on canvas – has been a matter of controversy with scholars on both sides of the argument.
Type
Year
Sizes
Oil on panel
1665–1666
23.2×18.1 cm (9.1×7.1 in)
The Milkmaid
The Milkmaid sometimes called The Kitchen Maid, is an oil-on-canvas painting of a domestic kitchen maid.

The painting is strikingly illusionistic, conveying not just details but a sense of the weight of the woman and the table. «It's a little bit of a Mona Lisa effect» in modern viewers' reactions to the painting, according to Walter Liedtke.
Type
Year
Sizes
Oil on canvas
1657–1661
45.5×41 cm (17.9×16.1 in)
Mistress and Maid
The painting displays Vermeer's preference for yellow and blue, female models, and domestic scenes. The half -length figures of the two women are larger than anything Vermeer had painted after The Procuress, approaching the size of life.

Many have thought the work unfinished because of the plain dark background. But in its precise rendering of both expression and gesture it challenges comparison even with Rembrandt.
Type
Year
Sizes
Oil on canvas
1666–1667
90.2×78.7 cm (35.5×31 in)
The Geographer
This is one of only three paintings Vermeer signed and dated (the other two are The Astronomer and The Procuress).

Vermeer made several changes in the painting that enhance the feeling of energy in the picture: the man's head was originally in a different position to the left of where the viewer now sees it, indicating the man perhaps was looking down, rather than peering out the window; the dividers he holds in his hand were originally vertical, not horizontal; a sheet of paper was originally on the small stool at the lower right, and removing it probably made that area darker.
Type
Year
Sizes
Oil on canvas
1668–1669
52×45.5 cm (20×17.9 in)
Mistress and Maid
The painting displays Vermeer's preference for yellow and blue, female models, and domestic scenes. The half -length figures of the two women are larger than anything Vermeer had painted after The Procuress, approaching the size of life.

Many have thought the work unfinished because of the plain dark background. But in its precise rendering of both expression and gesture it challenges comparison even with Rembrandt.
Type
Year
Sizes
Oil on canvas
1666–1667
90.2×78.7 cm (35.5×31 in)
The Geographer
This is one of only three paintings Vermeer signed and dated (the other two are The Astronomer and The Procuress).

Vermeer made several changes in the painting that enhance the feeling of energy in the picture: the man's head was originally in a different position to the left of where the viewer now sees it, indicating the man perhaps was looking down, rather than peering out the window; the dividers he holds in his hand were originally vertical, not horizontal; a sheet of paper was originally on the small stool at the lower right, and removing it probably made that area darker.
Type
Year
Sizes
Oil on canvas
1668–1669
52×45.5 cm (20×17.9 in)
LADY SEATED AT A VIRGINAL
Lady Seated at a Virginal, also known as Young Woman Seated at a Virginal, is a genre painting. In his late works, Vermeer's interest in the surface appearance of objects had contradictory effects.

His brushwork became more abstract as it was freed from the role of describing surface textures. A Lady Seated at a Virginal is the most extreme example of this approach in his oeuvre and thus probably was his last painting.
Type
Year
Sizes
Oil on canvas
1670–1672
51.5×45.5 cm (20.3×17.9 in)
LADY SEATED AT A VIRGINAL
Lady Seated at a Virginal, also known as Young Woman Seated at a Virginal, is a genre painting. In his late works, Vermeer's interest in the surface appearance of objects had contradictory effects.

His brushwork became more abstract as it was freed from the role of describing surface textures. A Lady Seated at a Virginal is the most extreme example of this approach in his oeuvre and thus probably was his last painting.
Type
Year
Sizes
Oil on canvas
1670–1672
51.5×45.5 cm (20.3×17.9 in)
There is so much mystery in each painting, in the women he depicts, so many stories suggested by not told.
Tracy Chevalier
Johannes Vermeer
1 October 1632­­ ­– 15 December 1675
There is so much mystery in each painting, in the women he depicts, so many stories suggested by not told.
Tracy Chevalier
Johannes Vermeer
1 October 1632­­ ­– 15 December 1675
ON EXHIBITIONS AND OTHER QUESTIONS
ON EXHIBITIONS AND OTHER QUESTIONS
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