156:
38:
1717:
309:, the Soviets decided in 1955 to return the art to Germany, "for the purpose of strengthening and furthering the progress of friendship between the Soviet and German peoples." Aggrieved at the thought of losing hundreds of paintings, art historians and museum curators in the Soviet Union suggested that "in acknowledgment for saving and returning the world-famous treasures of the Dresden Gallery" the Germans should perhaps donate to them
197:" beyond the constraints of her home and society, while the fruit "is a symbol of extramarital relations." Schneider concludes that the letter is a love letter either planning or continuing her illicit relationship. He supports the conclusion by observing, as revealed by x-rays of the canvas, that the work as produced by Vermeer portrayed painting of a
180:
The restoration provides an opportunity to reconsider the painting. The painting of Cupid on the wall may suggest that the girl is reading a love letter. Stephan Koja, director of the Gemäldegalerie Alte
Meister (Old Masters Picture Gallery), said in a statement that "Beyond the superficially amorous
266:
on the wall behind the reading girl, as well as brighter colors in the painting. Many have changed their view or interpretation of this painting, now that the "painting within a painting" has been revealed as part of the original work, covered up by someone long after
Vermeer died. "Scholars believe
331:
The painting was investigated by
Hermann KĂĽhn together with several other works of Vermeer in 1968. The pigment analysis has shown that Vermeer's choice of painting materials did not reveal any peculiarities as he used the usual pigments of the baroque period. The green drapery in the foreground is
172:
X-ray examination of the painting in the 21st century revealed an image on the wall behind the girl. Further work by conservator
Christoph Schölzel in 2017 revealed that varnish on that part of the painting differed from the rest of the painting, and was clearly applied after Vermeer died. In 2019,
168:
drapery in the foreground right, partially closed, masks a quarter of the room in which she stands. The color of the drape reflects the green of the woman's gown and the shades of the fruit tilted in a bowl on the red-draped table. On the table beside the bowl, a peach is cut in half, revealing its
173:
it was decided by the
Staatliche Kunstsammlungen Dresden (State Arts Collection in Dresden) to restore the painting to its original composition by Vermeer. The painting of Cupid on the wall behind the girl resembles a painting from Vermeer's own collection of art, a painting by
163:
The painting as seen for nearly 300 years depicts a young Dutch blonde girl standing at an open window, in profile, reading a letter. A red drapery hangs over the top of the window glass, which has opened inward and which, in its lower right quadrant, reflects her. A tasseled
201:, likely representing Cupid, hanging on the wall in the upper right portion of the piece. Another person painted over the image in the late 18th century so that the wall appeared blank. The overpainting was reversed by a restoration project conducted by the museum
208:
The draperies, hanging in the right foreground, are not an uncommon element for
Vermeer, appearing in seven of his paintings. It is possible that the curtain on the right is referencing the common use of curtains to protect paintings. Even more common, the
372:. With the major restoration of the original painting by Vermeer, the question has been posed: “Will Tom Hunter now revisit his Kobal Photographic Portrait Award winning work to reveal a hidden image on the wall?”
465:
The revealed cupid bears a striking resemblance to one seen in
Vermeer's A Young Woman Standing at a Virginal. It may have been inspired by a painting in Vermeer's possession, attributed to Cesar van Everdingen.
283:, purchased the painting under the mistaken belief that it had been painted by Rembrandt. In 1826, it was mis-attributed again, to Pieter de Hooch. It was so labelled when French art critic
246:
elements of both and the blond hair specifically in this work. This use of light may support speculation among art historians that
Vermeer used a mechanical optical device, such as a double
128:, which has held it since 1742. For many years, the attribution of the painting—which features a young Dutch woman reading a letter before an open window—was lost, with first
267:
that the newly revealed picture is meant to indicate that the woman is reading a love letter." and now the work is again on display for the public to offer their views.
1571:
1749:
217:, one of three which feature a rug-covered table or balustrade between the figure and the viewer. It was the last painting in which Vermeer featured this device.
450:
140:, the painting was briefly in possession of the Soviet Union. In 2017, tests revealed that the painting had been altered after the painter's death.
1203:
305:
encountered them, they took them. The
Soviets portrayed this as an act of rescue; some others as an act of plunder. Either way, after the death of
570:
1739:
323:. The Germans did not take to the idea, and the painting was returned. Well-preserved, it is on display at the Gemäldegalerie in Dresden.
1174:
1132:
368:, whose artistic photo interpretation of the somber tone of emotion and the bowl of fruit shows a young mother and her child reading
489:
852:
Giants of Delft: Johannes
Vermeer and the natural philosophers : the parallel search for knowledge during the age of discovery
143:
The painting was laboriously restored to its original composition between 2018 and 2021 using scalpel and microscope. It now shows
155:
1089:
147:
in a "painting within a painting" on the wall, and since the restoration, hangs at the museum in Dresden as Vermeer painted it.
786:
1064:
1659:
1482:
1197:
1078:
1037:
1004:
977:
944:
917:
887:
860:
820:
381:
37:
1562:
1450:
1109:
287:
came upon it, recognizing it as one of the rare works of the Dutch painter and restoring its proper attribution in 1860.
1114:
294:
202:
1579:
1120:, exhibition catalog fully online as PDF from The Metropolitan Museum of Art, which contains material on the painting
756:
420:
242:(1991) points out the "tiny white globules" that can be seen in the brighter parts of both paintings, including the
1595:
1587:
1338:
20:
605:
1167:
1527:
574:
284:
1282:
1670:
1290:
1754:
1490:
1474:
1354:
831:
1070:
315:
344:. For the red drapery in the window and the red parts of the table covering Vermeer used a mixture of
121:
84:
1720:
1649:
1532:
1466:
1442:
1370:
1250:
1218:
1160:
386:
222:
114:
1654:
1418:
1226:
193:(2000), Norbert Schneider wrote that the open window represents "the woman's longing to extend her
1744:
1639:
1634:
1434:
1378:
1322:
1234:
1123:
743:
1552:
1394:
1314:
1266:
969:
276:
907:
1458:
1346:
1090:"Hidden Cupid resurfaces in one of Vermeer's best-known works after two and a half centuries"
1029:
994:
934:
877:
850:
174:
1542:
903:
280:
235:
8:
1410:
1386:
365:
796:
1678:
1623:
962:
726:
1509:
1402:
1330:
1258:
1094:
1074:
1033:
1022:
1000:
973:
940:
913:
883:
856:
816:
717:
Kuhn, Hermann (1968). "A Study of the Pigments and the Grounds Used by Jan Vermeer".
426:
416:
451:"Vermeer's 'Girl Reading a Letter' Reconsidered as Restoration Reveals Hidden Cupid"
1702:
1694:
1629:
1362:
1183:
936:
Old Masters, New World: America's raid on Europe's great pictures, 1880-World War I
194:
117:
48:
1686:
1619:
1547:
337:
133:
1664:
1537:
1426:
1298:
1060:
251:
1733:
1306:
1242:
1146:
306:
136:
being credited for the work before it was properly identified in 1880. After
412:
The age of Rembrandt and Vermeer: Dutch painting in the seventeenth century
247:
137:
110:
76:
83 cm Ă— 64.5 cm (33 in Ă— 25.4 in)
66:
760:
490:"Restoration of Vermeer Painting in Germany Reveals Hidden Image of Cupid"
430:
227:
120:. Completed in approximately 1657–1659, the painting is on display at the
1613:
1142:
349:
231:
1024:
Mythmaking in the new Russia: politics and memory during the Yeltsin era
730:
181:
context, it is a fundamental statement about the essence of true love."
410:
353:
341:
243:
210:
345:
320:
129:
996:
Archaeologies of vision: Foucault and Nietzsche on seeing and saying
275:
Vermeer completed the painting in approximately 1657–1659. In 1742,
1152:
302:
297:. The painting was stored, with other works of art, in a tunnel in
791:
333:
254:, to help him achieve realistic light patterns in his paintings.
125:
88:
364:
This painting has been an inspiration to other artists, such as
1644:
298:
1141:
A pictorial analysis of the painting by Cornell at professors
1138:
263:
198:
165:
144:
293:
was among the paintings rescued from destruction during the
1572:
The Ghost of Vermeer of Delft Which Can Be Used as a Table
262:
A major restoration completed in 2021 shows a painting of
31:
Girl Reading a Letter at an Open Window, 2021 restoration
640:
518:
506:
628:
785:
Akinsha, Konstantin; Kozlov, Grigorii (April 1991).
616:
551:
1021:
961:
1731:
1110:Essential Vermeer website pages on the painting
909:Vermeer and His Milieu: A Web of Social History
606:"A Vermeer Restoration Reveals a God of Desire"
689:
687:
685:
683:
415:. New York, USA: Holt, Rinehart, and Winston.
257:
1750:Collection of the Gemäldegalerie Alte Meister
1168:
784:
693:
483:
481:
479:
477:
475:
473:
444:
442:
440:
226:represent the earliest known examples of the
680:
571:Gemälde übermalt "Vermeer war kein Begriff"
404:
402:
159:Painting as seen prior to 2021 restoration.
1175:
1161:
470:
437:
184:
36:
959:
744:Johannes Vermeer, A Lady Reading a Letter
719:Reports and Studies in the History of Art
698:
524:
512:
932:
670:
668:
666:
646:
541:
539:
537:
535:
533:
399:
154:
1275:Girl Reading a Letter at an Open Window
1087:
1059:
992:
902:
829:
658:
652:
634:
603:
587:
585:
583:
545:
487:
448:
311:Girl Reading a Letter at an Open Window
291:Girl Reading a Letter at an Open Window
215:Girl Reading a Letter at an Open Window
98:Girl Reading a Letter at an Open Window
1732:
1204:Christ in the House of Martha and Mary
875:
848:
810:
674:
622:
591:
557:
16:1657–1659 painting by Johannes Vermeer
1660:Isabella Stewart Gardner Museum theft
1483:A Young Woman Seated at the Virginals
1156:
1019:
879:Vermeer and Plato: painting the ideal
704:
663:
530:
382:List of paintings by Johannes Vermeer
326:
1182:
1028:. Cornell University Press. p.
716:
580:
408:
332:painted mainly in a mixture of blue
1740:Genre paintings by Johannes Vermeer
1451:Lady Writing a Letter with her Maid
964:Vermeer, 1632–1675: veiled emotions
13:
1053:
295:bombing of Dresden in World War II
234:) for which Vermeer became known.
203:Staatliche Kunstsammlungen Dresden
103:Brieflezend meisje bij het venster
14:
1766:
1103:
1088:Hickley, Catherine (2019-05-07).
960:Schneider, Norbert (2000-05-17).
604:Hickley, Catherine (2021-09-09).
577:director Stephan Koja, in German)
1716:
1715:
933:Saltzman, Cynthia (2008-08-19).
757:"Woman Reading Possession Order"
340:, while the lower part contains
21:Woman Reading a Letter (Vermeer)
999:. University of Chicago Press.
778:
749:
737:
710:
597:
107:Lady reading at an open window,
912:. Princeton University Press.
563:
150:
1:
1283:Girl Interrupted at Her Music
1208:
882:. Bucknell University Press.
855:. Bucknell University Press.
830:Cumming, Laura (2001-05-27).
811:Bailey, Martin (1995-10-26).
569:Deutschlandfunk, 2019-05-07:
488:Solomon, Tessa (2021-08-24).
392:
1671:All the Vermeers in New York
1291:The Girl with the Wine Glass
1135:at Google Cultural Institute
1066:Vermeer and the Delft School
993:Shapiro, Gary (2003-04-15).
7:
1475:Lady Standing at a Virginal
1355:Woman with a Pearl Necklace
1020:Smith, Kathleen E. (2002).
832:"Only Here for the Vermeer"
375:
258:Restoration in 21st century
10:
1771:
1071:Metropolitan Museum of Art
876:Huerta, Robert D. (2005).
849:Huerta, Robert D. (2003).
270:
18:
1713:
1650:Dutch Golden Age painting
1606:
1596:Girl with a Pearl Earring
1588:Girl with a Pearl Earring
1580:Girl with a Pearl Earring
1561:
1520:
1501:
1467:Lady Seated at a Virginal
1371:Girl with a Pearl Earring
1251:Officer and Laughing Girl
1190:
1139:How to Look at a Painting
694:Akinsha & Kozlov 1991
387:Dutch Golden Age painting
359:
230:(not to be confused with
223:Officer and Laughing Girl
80:
72:
62:
54:
44:
35:
30:
1227:Diana and Her Companions
115:Dutch Golden Age painter
19:Not to be confused with
1706:(2013 documentary film)
1640:Delft School (painting)
1635:Antonie van Leeuwenhoek
1379:A Lady Writing a Letter
1323:Woman Holding a Balance
1126:A Lady Reading a Letter
449:Jenkins, Chris (2020).
185:Symbolism and technique
1553:Arthur K. Wheelock Jr.
1528:Théophile Thoré-Bürger
1395:Study of a Young Woman
1339:Woman Reading a Letter
1315:Woman with a Water Jug
573:(Radio interview with
455:Arts & Collections
285:Théophile Thoré-Bürger
277:Augustus III of Poland
240:Vermeer and His Milieu
160:
1459:The Allegory of Faith
1133:High resolution image
904:Montias, John Michael
158:
1655:Hockney–Falco thesis
1543:John Michael Montias
409:Nash, J. M. (1973).
236:John Michael Montias
213:appears in 25, with
175:Cesar van Everdingen
1698:(2008 history book)
1502:Formerly attributed
1411:The Art of Painting
1387:Girl with a Red Hat
1118:by Johannes Vermeer
968:. Taschen. p.
1755:Paintings of Cupid
1679:Writing to Vermeer
1624:Pieter van Ruijven
1124:Johannes Vermeer,
1061:Liedtke, Walter A.
370:an eviction notice
327:Painting materials
220:This painting and
191:Vermeer, 1632–1675
161:
1727:
1726:
1510:Girl with a Flute
1491:The Guitar Player
1403:Mistress and Maid
1331:Woman with a Lute
1259:The Little Street
1095:The Art Newspaper
1080:978-0-87099-973-4
1039:978-0-8014-3963-6
1006:978-0-226-75047-7
979:978-3-8228-6323-7
946:978-0-670-01831-4
939:. Penguin Group.
919:978-0-691-00289-7
889:978-0-8387-5606-5
862:978-0-8387-5538-9
822:978-0-7148-3462-7
815:. Phaidon Press.
281:Elector of Saxony
105:), also known as
94:
93:
1762:
1719:
1718:
1630:Han van Meegeren
1363:The Music Lesson
1213:
1210:
1184:Johannes Vermeer
1177:
1170:
1163:
1154:
1153:
1099:
1084:
1049:
1047:
1046:
1027:
1016:
1014:
1013:
989:
987:
986:
967:
956:
954:
953:
929:
927:
926:
899:
897:
896:
872:
870:
869:
845:
843:
842:
826:
807:
805:
804:
795:. Archived from
772:
771:
769:
768:
759:. Archived from
753:
747:
741:
735:
734:
714:
708:
702:
696:
691:
678:
672:
661:
656:
650:
644:
638:
632:
626:
620:
614:
613:
601:
595:
589:
578:
575:Gemäldegalerie's
567:
561:
555:
549:
543:
528:
522:
516:
510:
504:
503:
501:
500:
485:
468:
467:
462:
461:
446:
435:
434:
406:
205:from 2018–2021.
118:Johannes Vermeer
49:Johannes Vermeer
40:
28:
27:
1770:
1769:
1765:
1764:
1763:
1761:
1760:
1759:
1730:
1729:
1728:
1723:
1709:
1687:Chasing Vermeer
1620:Maria de Knuijt
1616:(mother-in-law)
1602:
1575:(1934 painting)
1557:
1548:Laura J. Snyder
1533:Jonathan Janson
1516:
1497:
1443:The Love Letter
1211:
1186:
1181:
1106:
1081:
1056:
1054:Further reading
1044:
1042:
1040:
1011:
1009:
1007:
984:
982:
980:
951:
949:
947:
924:
922:
920:
894:
892:
890:
867:
865:
863:
840:
838:
823:
802:
800:
787:"Spoils of War"
781:
776:
775:
766:
764:
755:
754:
750:
742:
738:
715:
711:
703:
699:
692:
681:
673:
664:
657:
653:
645:
641:
633:
629:
621:
617:
602:
598:
590:
581:
568:
564:
556:
552:
544:
531:
523:
519:
511:
507:
498:
496:
486:
471:
459:
457:
447:
438:
423:
407:
400:
395:
378:
362:
338:lead-tin-yellow
329:
273:
260:
195:domestic sphere
187:
153:
134:Pieter de Hooch
24:
17:
12:
11:
5:
1768:
1758:
1757:
1752:
1747:
1745:1659 paintings
1742:
1725:
1724:
1714:
1711:
1710:
1708:
1707:
1699:
1691:
1683:
1675:
1667:
1665:Vermeer Centre
1662:
1657:
1652:
1647:
1642:
1637:
1632:
1627:
1617:
1610:
1608:
1604:
1603:
1601:
1600:
1592:
1584:
1576:
1567:
1565:
1559:
1558:
1556:
1555:
1550:
1545:
1540:
1538:Walter Liedtke
1535:
1530:
1524:
1522:
1518:
1517:
1515:
1514:
1513:(c. 1665–1670)
1505:
1503:
1499:
1498:
1496:
1495:
1487:
1486:(c. 1670–1672)
1479:
1478:(c. 1670–1672)
1471:
1470:(c. 1670–1672)
1463:
1462:(c. 1670–1672)
1455:
1454:(c. 1670–1671)
1447:
1446:(c. 1669–1670)
1439:
1438:(c. 1669–1670)
1431:
1430:(c. 1668–1669)
1427:The Geographer
1423:
1419:The Astronomer
1415:
1414:(c. 1666–1668)
1407:
1399:
1398:(c. 1665–1667)
1391:
1390:(c. 1665–1666)
1383:
1375:
1367:
1366:(c. 1662–1665)
1359:
1351:
1343:
1335:
1334:(c. 1662–1663)
1327:
1326:(c. 1662–1663)
1319:
1318:(c. 1660–1662)
1311:
1310:(c. 1660–1661)
1303:
1299:The Wine Glass
1295:
1294:(c. 1659–1660)
1287:
1286:(c. 1658–1659)
1279:
1278:(c. 1657–1659)
1271:
1270:(c. 1657–1658)
1263:
1262:(c. 1657–1658)
1255:
1247:
1239:
1231:
1230:(c. 1653–1656)
1223:
1219:Saint Praxedis
1215:
1200:
1194:
1192:
1188:
1187:
1180:
1179:
1172:
1165:
1157:
1151:
1150:
1136:
1130:
1121:
1112:
1105:
1104:External links
1102:
1101:
1100:
1085:
1079:
1055:
1052:
1051:
1050:
1038:
1017:
1005:
990:
978:
957:
945:
930:
918:
906:(1991-01-01).
900:
888:
873:
861:
846:
827:
821:
808:
780:
777:
774:
773:
748:
736:
709:
697:
679:
662:
651:
639:
627:
615:
610:New York Times
596:
579:
562:
550:
529:
525:Schneider 2000
517:
513:Schneider 2000
505:
469:
436:
421:
397:
396:
394:
391:
390:
389:
384:
377:
374:
361:
358:
328:
325:
316:Sleeping Venus
272:
269:
259:
256:
252:camera obscura
186:
183:
152:
149:
122:Gemäldegalerie
92:
91:
85:Gemäldegalerie
82:
78:
77:
74:
70:
69:
64:
60:
59:
56:
52:
51:
46:
42:
41:
33:
32:
15:
9:
6:
4:
3:
2:
1767:
1756:
1753:
1751:
1748:
1746:
1743:
1741:
1738:
1737:
1735:
1722:
1712:
1705:
1704:
1703:Tim's Vermeer
1700:
1697:
1696:
1695:Vermeer's Hat
1692:
1689:
1688:
1684:
1681:
1680:
1676:
1673:
1672:
1668:
1666:
1663:
1661:
1658:
1656:
1653:
1651:
1648:
1646:
1643:
1641:
1638:
1636:
1633:
1631:
1628:
1625:
1621:
1618:
1615:
1612:
1611:
1609:
1605:
1598:
1597:
1593:
1590:
1589:
1585:
1582:
1581:
1577:
1574:
1573:
1569:
1568:
1566:
1564:
1560:
1554:
1551:
1549:
1546:
1544:
1541:
1539:
1536:
1534:
1531:
1529:
1526:
1525:
1523:
1519:
1512:
1511:
1507:
1506:
1504:
1500:
1493:
1492:
1488:
1485:
1484:
1480:
1477:
1476:
1472:
1469:
1468:
1464:
1461:
1460:
1456:
1453:
1452:
1448:
1445:
1444:
1440:
1437:
1436:
1435:The Lacemaker
1432:
1429:
1428:
1424:
1421:
1420:
1416:
1413:
1412:
1408:
1405:
1404:
1400:
1397:
1396:
1392:
1389:
1388:
1384:
1381:
1380:
1376:
1373:
1372:
1368:
1365:
1364:
1360:
1357:
1356:
1352:
1349:
1348:
1344:
1341:
1340:
1336:
1333:
1332:
1328:
1325:
1324:
1320:
1317:
1316:
1312:
1309:
1308:
1307:View of Delft
1304:
1301:
1300:
1296:
1293:
1292:
1288:
1285:
1284:
1280:
1277:
1276:
1272:
1269:
1268:
1264:
1261:
1260:
1256:
1253:
1252:
1248:
1245:
1244:
1243:A Girl Asleep
1240:
1237:
1236:
1235:The Procuress
1232:
1229:
1228:
1224:
1221:
1220:
1216:
1206:
1205:
1201:
1199:
1198:List of works
1196:
1195:
1193:
1189:
1185:
1178:
1173:
1171:
1166:
1164:
1159:
1158:
1155:
1148:
1147:Kenneth Evett
1144:
1140:
1137:
1134:
1131:
1128:
1127:
1122:
1119:
1117:
1113:
1111:
1108:
1107:
1097:
1096:
1091:
1086:
1082:
1076:
1072:
1068:
1067:
1062:
1058:
1057:
1041:
1035:
1031:
1026:
1025:
1018:
1008:
1002:
998:
997:
991:
981:
975:
971:
966:
965:
958:
948:
942:
938:
937:
931:
921:
915:
911:
910:
905:
901:
891:
885:
881:
880:
874:
864:
858:
854:
853:
847:
837:
833:
828:
824:
818:
814:
809:
799:on 2010-10-25
798:
794:
793:
788:
783:
782:
763:on 2010-08-08
762:
758:
752:
745:
740:
732:
728:
724:
720:
713:
706:
701:
695:
690:
688:
686:
684:
676:
671:
669:
667:
660:
655:
649:, p. 39.
648:
647:Saltzman 2008
643:
637:, p. 63.
636:
631:
625:, p. 83.
624:
619:
611:
607:
600:
593:
588:
586:
584:
576:
572:
566:
560:, p. 37.
559:
554:
548:, p. 152
547:
542:
540:
538:
536:
534:
527:, p. 50.
526:
521:
515:, p. 49.
514:
509:
495:
491:
484:
482:
480:
478:
476:
474:
466:
456:
452:
445:
443:
441:
432:
428:
424:
422:0-03-091870-7
418:
414:
413:
405:
403:
398:
388:
385:
383:
380:
379:
373:
371:
367:
357:
355:
351:
347:
343:
339:
335:
324:
322:
318:
317:
312:
308:
307:Joseph Stalin
304:
300:
296:
292:
288:
286:
282:
278:
268:
265:
255:
253:
250:mounted in a
249:
245:
241:
237:
233:
229:
225:
224:
218:
216:
212:
206:
204:
200:
196:
192:
182:
178:
176:
170:
167:
157:
148:
146:
141:
139:
135:
131:
127:
123:
119:
116:
112:
108:
104:
100:
99:
90:
86:
83:
79:
75:
71:
68:
67:Oil on canvas
65:
61:
57:
53:
50:
47:
43:
39:
34:
29:
26:
22:
1701:
1693:
1690:(2004 novel)
1685:
1682:(1999 opera)
1677:
1669:
1594:
1586:
1583:(1999 novel)
1578:
1570:
1508:
1489:
1481:
1473:
1465:
1457:
1449:
1441:
1433:
1425:
1417:
1409:
1401:
1393:
1385:
1377:
1369:
1361:
1353:
1345:
1337:
1329:
1321:
1313:
1305:
1297:
1289:
1281:
1274:
1273:
1267:The Milkmaid
1265:
1257:
1249:
1241:
1233:
1225:
1217:
1202:
1125:
1116:The Milkmaid
1115:
1093:
1065:
1043:. Retrieved
1023:
1010:. Retrieved
995:
983:. Retrieved
963:
950:. Retrieved
935:
923:. Retrieved
908:
893:. Retrieved
878:
866:. Retrieved
851:
839:. Retrieved
836:The Observer
835:
812:
801:. Retrieved
797:the original
790:
779:Bibliography
765:. Retrieved
761:the original
751:
739:
722:
718:
712:
707:, p. 60
700:
677:, p. 44
659:Cumming 2001
654:
642:
635:Shapiro 2003
630:
618:
609:
599:
594:, p. 66
565:
553:
546:Montias 1991
520:
508:
497:. Retrieved
493:
464:
458:. Retrieved
454:
411:
369:
363:
330:
314:
310:
290:
289:
274:
261:
248:concave lens
239:
221:
219:
214:
207:
190:
188:
179:
171:
162:
142:
138:World War II
111:oil painting
106:
102:
97:
96:
95:
58:c. 1657–1659
25:
1674:(1990 film)
1614:Maria Thins
1599:(2008 play)
1591:(2003 film)
1521:Scholarship
1347:The Concert
1212: 1655
1143:Norman Daly
1129:, Colourlex
746:, Colourlex
725:: 154–202.
675:Bailey 1995
623:Huerta 2003
592:Huerta 2003
558:Huerta 2005
350:madder lake
342:green earth
301:; when the
232:pointillism
151:Composition
1734:Categories
1563:Portrayals
1045:2010-06-27
1012:2010-07-09
985:2010-07-09
952:2010-07-09
925:2010-07-09
895:2010-07-09
868:2010-07-09
841:2010-07-09
803:2010-06-27
767:2010-07-27
705:Smith 2002
499:2022-02-10
460:2022-02-10
393:References
366:Tom Hunter
354:lead white
244:still life
211:repoussoir
73:Dimensions
1626:(patrons)
1494:(c. 1672)
1422:(c. 1668)
1406:(c. 1667)
1382:(c. 1665)
1374:(c. 1665)
1358:(c. 1664)
1350:(c. 1664)
1342:(c. 1663)
1302:(c. 1660)
1254:(c. 1657)
1246:(c. 1657)
1222:(c. 1655)
1191:Paintings
1149:(YouTube)
346:vermilion
321:Giorgione
228:pointillé
132:and then
130:Rembrandt
1721:Category
1063:(2001).
731:42618099
494:Art News
376:See also
303:Red Army
101:(Dutch:
81:Location
1607:Related
813:Vermeer
792:ARTnews
334:azurite
271:History
126:Dresden
89:Dresden
1645:Tronie
1238:(1656)
1077:
1036:
1003:
976:
943:
916:
886:
859:
819:
729:
431:509420
429:
419:
360:Legacy
299:Saxony
109:is an
63:Medium
45:Artist
727:JSTOR
264:Cupid
199:putto
169:pit.
166:ochre
145:Cupid
1622:and
1145:and
1075:ISBN
1034:ISBN
1001:ISBN
974:ISBN
941:ISBN
914:ISBN
884:ISBN
857:ISBN
817:ISBN
427:OCLC
417:ISBN
352:and
336:and
313:and
55:Year
319:by
238:in
189:In
124:in
113:by
1736::
1209:c.
1092:.
1073:.
1069:.
1032:.
1030:60
972:.
970:49
834:.
789:.
721:.
682:^
665:^
608:.
582:^
532:^
492:.
472:^
463:.
453:.
439:^
425:.
401:^
356:.
348:,
279:,
177:.
87:,
1214:)
1207:(
1176:e
1169:t
1162:v
1098:.
1083:.
1048:.
1015:.
988:.
955:.
928:.
898:.
871:.
844:.
825:.
806:.
770:.
733:.
723:2
612:.
502:.
433:.
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.