Knowledge

Girl Reading a Letter at an Open Window

Source đź“ť

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 ĂĽbermalt "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:ThĂ©ophile ThorĂ©-BĂĽrger 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:ThĂ©ophile ThorĂ©-BĂĽrger 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:pointillĂ© 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:.

Index

Woman Reading a Letter (Vermeer)

Johannes Vermeer
Oil on canvas
Gemäldegalerie
Dresden
oil painting
Dutch Golden Age painter
Johannes Vermeer
Gemäldegalerie
Dresden
Rembrandt
Pieter de Hooch
World War II
Cupid

ochre
Cesar van Everdingen
domestic sphere
putto
Staatliche Kunstsammlungen Dresden
repoussoir
Officer and Laughing Girl
pointillé
pointillism
John Michael Montias
still life
concave lens
camera obscura
Cupid

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

↑