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amorous symbols in the painting include a wide-mouthed jug, often used as a symbol of the female anatomy. The foot warmer was often used by artists as a symbol for female sexual arousal because, when placed under a skirt, it heats the whole body below the waist, according to
Liedtke. The coals enclosed inside the foot warmer could symbolize "either the heat of lust in tavern or brothel scenes, or the hidden but true burning passion of a woman for her husband", according to Serena Cant, a British art historian and lecturer. Yet the whitewashed wall and presence of milk seem to indicate that the room was a "cool kitchen" used for cooking with dairy products, such as milk and butter, so the foot warmer would have a pragmatic purpose there. Since other Dutch paintings of the period indicate that foot warmers were used when seated, its presence in the picture may symbolize the standing woman's "hardworking nature", according to Cant.
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resemble a knobbly crust or a crust with seeds on it. The bread and basket, despite being closer to the viewer, are painted in a more diffuse way than the illusionistic realism of the wall, with its stains, shadowing, nail and nail hole, or the seams and fastenings of the woman's dress, the gleaming, polished brass container hanging from the wall. The panes of glass in the window are varied in a very realistic way, with a crack in one (fourth row from the bottom, far right) reflected on the wood of the window frame. Just below that pane, another has a scratch, indicated with a thin white line. Another pane (second row from the bottom, second from right) is pushed inward within its frame.
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477:. Vermeer, who was age twenty-five when he painted this work, was "shopping around in Dutch art for different styles and subjects", according to Liedtke. "He's looking, in this case, mainly at artists like Gerrit Dou and others who work in a meticulous, illusionistic way." Liedtke sees the work as either Vermeer's "last early work or first mature work". The curator added, "I almost think he had to explore what you might call 'tactile illusionism' to understand where he really wanted to go, which was in the more optical, light-filled direction."
412:, whose diary records encounters with kitchen maids, oyster girls, and, at an inn during a 1660 visit to Delft, "an exceedingly pretty lass ... right for the sport". The painting was first owned by (and may have been painted for) Pieter van Ruijven, owner of several other paintings by Vermeer which also depicted attractive young women and with themes of desire and self-denial quite different from the attitude of Pepys and many of the paintings in the Dutch "kitchenmaid" tradition.
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355:(1613–1675), depicted attractive maids with symbolic objects such as jugs and various forms of game and produce. "In almost all the works of this tradition there is an erotic element, which is conveyed through gestures ranging from jamming chickens onto spits to gently offering — or so the direction of view suggests — an intimate glimpse of some vaguely uterine object," according to Liedtke. In Dou's 1646 painting,
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in 17th-century
Holland were inexpensive ways of decorating bare walls.) He originally placed a large, conspicuous clothes basket (the Rijksmuseum web page calls it a "sewing basket") near the bottom of the painting, behind the maid's red skirt, but then the artist painted it over, producing the slight shift in tone (
510:— you can almost taste the thick, creamy milk escaping the jug, feel the cool dampness of the room and the starchy linen of the maid's white cap, touch her sculptural shoulders and corseted waist. She is not an apparition or abstraction. She is not the ideal, worldly housewife of Vermeer's later
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Characteristic of Delft artistry and of
Vermeer's work, the painting also has a "classic balance" of figurative elements and an "extraordinary treatment of light", according to The Metropolitan Museum of Art. The wall on the left, according to Liedtke, "gets you very quickly in the picture—that
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The painting shows a milkmaid, a woman who milks cows and makes dairy products like butter and cheese, in a plain room carefully pouring milk into a squat earthenware container on a table. Milkmaids began working solely in the stables before large houses hired them to do housework as well rather than
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is also a dominant color in an exceptionally luminous work (with a much less somber and conventional rendering of light than any of
Vermeer's previous extant works). Depicting white walls was a challenge for artists in Vermeer's time, with his contemporaries using various forms of gray pigment. Here
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An impression of monumentality and "perhaps a sense of dignity" is lent to the image by the artist's choice of a relatively low vantage point and a pyramidal building up of forms from the left foreground to the woman's head, according to a web page of The
Metropolitan Museum of Art. According to the
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Vermeer painted over two items originally in the painting. One was a large wall map (a
Rijksmuseum web page calls it a painting) behind the upper part of the woman's body. (A wall map may not have been very out of place in a humble workroom such as the cold kitchen where the maid toiled: large maps
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method. Broad strokes in the painting of the clothing suggests the coarse, thick texture of the work clothing. The blue cuff uses a lighter mixture of ultramarine and lead-white, together with a layer of ochre painted beneath it. The brilliant blue of the skirt or apron has been intensified with a
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used to show the rough edges of broken crust. One piece of bread to the viewer's right and close to the Dutch oven, has a broad band of yellow, different from the crust, which Cant believes is a suggestion that the piece is going stale. The small roll at the far right has thick impastoed dots that
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in which the bread mixed with egg would be soaking at the moment depicted in the painting. She pours milk into the Dutch oven to cover the mixture because otherwise the bread, if not simmering in liquid while it is baking, will become an unappetizing, dry crust instead of forming the typical upper
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Vermeer's painting is even more understated, although the use of symbols remains: one of the Delft tiles at the foot of the wall behind the maid, near the foot warmer, depicts Cupid – which can imply arousal of a woman or simply that while she is working she is daydreaming about a man. Other
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The idea that
Vermeer traced compositions in an optical device is rather naive when you consider that the light lasts maybe 10 seconds, but the painting took at least months to paint." Instead, The pin in the canvas would have been tied to a string with chalk on it, which the painter would have
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By depicting the working maid in the act of careful cooking, the artist presents not just a picture of an everyday scene, but one with ethical and social value. The humble woman is using common ingredients and otherwise useless stale bread to create a pleasurable product for the household. "Her
631:(1624–1674), Vermeer's patron in Delft (and, at his death, the owner of twenty-one of the painter's works), probably bought the painting directly from the artist. Liedtke doubts that the patron ordered the subject matter. Ownership later passed on, perhaps to his widow,
277:" at the time the painting was created: "milk maids" were women who milked cows; kitchen maids worked in kitchens. For at least two centuries before the painting was created, milkmaids and kitchen maids had a reputation as being predisposed to love or sex, and this was
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hiring out for more staff. Also on the table in front of the milkmaid are various types of bread. She is a young, sturdily built woman wearing a crisp linen cap, a blue apron and work sleeves pushed up from thick forearms. A foot warmer is on the floor behind her, near
214:, conveying not just details but a sense of the weight of the woman and the table. "The light, though bright, doesn't wash out the rough texture of the bread crusts or flatten the volumes of the maid's thick waist and rounded shoulders", wrote Karen Rosenberg, an
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The painting is part of a social context of the sexual or romantic interactions of maids and men of higher social ranks that has now disappeared in Europe and which was never commonly recognized in
America. Liedtke offers as an example Vermeer's contemporary,
363:), a pewter tankard may refer to both male and female anatomy, and the picture contains other contemporary symbols of lust, such as onions (said to have aphrodisiacal properties), and a dangling bird. Milk also had lewd connotations, from the slang term
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The painting was exhibited online in a high-quality digital version after museum curators found that many people thought that a low-quality yellowed version of the image which was circulating on the
Internet was a good reproduction of the image.
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In Dutch literature and paintings of
Vermeer's time, maids were often depicted as subjects of male desire—dangerous women threatening the honor and security of the home, the center of Dutch life—although some Vermeer contemporaries, such as
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A 1907 Dutch cartoon by Jan Rinke, reflecting a controversy over whether the state should purchase the painting rather than let it possibly fall into the hands of some rich American art collector. The government bought the work for the
447:"In the end, it is not the allusions to female sexuality that give this painting its romance or emotional resonance — it is the depiction of honest, hard work as something romantic in and of itself," Raquel Laneri wrote in
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measured demeanor, modest dress and judiciousness in preparing her food conveys eloquently yet unobtrusively one of the strongest values of 17th-century Netherlands, domestic virtue", according to the Essential Vermeer website.
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in New York City, and the outbreak of World War II during the fair – with the German occupation of the Netherlands – caused the work to remain in the U.S. until Holland was liberated. During this time it was displayed at the
660:. "The famous milkmaid, by Vermeer of Delft, artful", went through at least five Amsterdam collections before it became part of what The Metropolitan Museum of Art called "one of the great collectors of Dutch art", that of
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pattern of bright dots on the bread and basket" are the "most effusive" use of that scheme in any Vermeer painting, and it appears to be used to suggest "scintillating daylight and rough textures at the same time."
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of collectors, and in 1908 her two sons sold the painting (as part of the famous Six collection of thirty-nine works) to the Rijksmuseum, which acquired the works with support from the Dutch government and the
484:"Nowhere else in his oeuvre does one find such a sculptural figure and such seemingly tangible objects, and yet the future painter of luminous interiors has already arrived," according to the museum. The "
567:. Although the formula was widely known among Vermeer's contemporary genre painters, "perhaps no artist more than Vermeer was able to use it so effectively", according to the Essential Vermeer website.
721:(the museum where the curator of the World's Fair exhibit was working), and was included in that museum's exhibition catalogues in 1939 and 1941. During the war, the work was also displayed at The
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recession from the left and then the openness to the right—and this sort of left-corner scheme was used for about 10 years before Vermeer, and he was very quick to pick up the latest thing."
249:, and organizer of two Vermeer exhibits. "There's a bit of mystery about her for modern audiences. She is going about her daily task, faintly smiling. And our reaction is 'What is she thinking?'"
689:" ("Tentoonstelling van zeldzame en belangrijke schilderijen van oude meesters"), for Arti et Amicitiae, a society of visual artists and art lovers, and in 1900 it was part of an exhibition at
367:, defined as "to sexually attract or lure" (a meaning that may have originated from watching farm girls working under cows, according to Liedtke). Examples of works using milk this way include
764:'s historic voyage (Amsterdam to Manhattan), where it was the central feature of a Metropolitan Museum of Art exhibition, alongside several of the museum's five Vermeer works and other
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See Schama, Chapter 6 on the housemaid, "the most dangerous women of all" (p. 455). See also Franits, 118-119 and 166, and the other passages under "maids, sterotypes" in his index.
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surface of the pudding. She is careful in pouring the trickle of milk because bread pudding can be ruined when the ingredients are not accurately measured or properly combined.
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This painting has "perhaps, the most brilliant color scheme of his oeuvre", according to the Essential Vermeer website. Already in the 18th century, English painter and critic
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glaze (a thin, transparent top layer) of the same color. The glazing helps suggest that the blue material is a less coarse fabric than the yellow bodice, according to Cant.
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Rijksmuseum, the painting "is built up along two diagonal lines. They meet by the woman's right wrist." This focuses the attention of the viewer on the pouring of the milk.
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is the painting's most-used name. Although this title is less accurate in modern Dutch, the word "meid" (maid) has gained a negative connotation that is not present in its
348:. Vermeer's painting is one of the rare examples of a maid treated in an empathetic and dignified way, although amorous symbols in this work still exemplify the tradition.
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503:. Other Vermeer paintings also have images removed. Some art critics have thought the removals may have been intended to provide the works with better thematic focus.
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and a man with a pole on either side of it; the clothes basket Vermeer removed from the painting was here. Also shown is a detail from the maid's brilliant blue apron.
224:. Yet with half of the woman's face in shadow, it is "impossible to tell whether her downcast eyes and pursed lips express wistfulness or concentration," she wrote.
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332:. However by this time there was an alternative convention of painting women at work in the home as exemplars of Dutch domestic virtue, dealt with at length by
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Milkmaid by Vermeer and Dutch Genre Painting Masterworks from the Rijksmuseum Amsterdam: Exhibition, The National Art Center, 26 September-17 December 2007.
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The woman's bulky green oversleeves were painted with the same yellow and blue paint used in the rest of the woman's clothing, worked at the same time in a
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the white walls reflect the daylight with different intensities, displaying the effects of uneven textures on the plastered surfaces. The artist here used
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The exact year of the painting's completion is unknown, with estimates varying by source. The Rijksmuseum estimates it as circa 1658. According to the
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in Washington for its exhibition "Johannes Vermeer: The Art of Painting", and it was part of the "Vermeer and the Delft School" exhibition at the
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in New York City, it was painted in about 1657 or 1658. The "Essential Vermeer" website gives a broader range of 1658–1661.
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The painting has been exhibited in western Europe and in the United States. In 1872 it was part of an Amsterdam exhibition of "
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506:"ts rustic immediacy differs from Vermeer's later paintings," according to Laneri. "There is a tactile, visceral quality to
1769:, Curator, Department of European Paintings, The Metropolitan Museum of Art, New York. September 26, 2009. Video. (72 min)
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form ("meisje")—hence the use of the more friendly title for the work, used by the Rijksmuseum and others.
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1161:"Vermeer's Timeless Heroine – A New Exhibit Recasts the Enduring Appeal of the Dutch Master's 'Milkmaid'"
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displayed the painting in an exhibition, and the next year it traveled to Italy for an exhibition at the
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The discrepancy between objects at various distances from the viewer may indicate Vermeer used a
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179:, the Netherlands, which regards it as "unquestionably one of the museum's finest attractions".
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The photograph-like realism of the painting resembles that of Leiden artists such as Dou,
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as "exceptionally good", and the work brought the second-highest price in the sale (175
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in New York, where it was hanging as late as 1944, according to Leidtke. In 1953, the
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673:— but not before a good deal of public squabbling and the intervention of the
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elevates the drudgery of housework and servitude to virtuous, even heroic, levels."
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dots. Soft parts of the bread are rendered with thin swirls of paint, with dabs of
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The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age
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According to art historian Harry Rand, the painting suggests the woman is making
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Vermeer’s Masterpiece The Milkmaid: Discreet Object of Desire: A Curatorial Talk
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praised the work for its striking quality. One of the distinctions of Vermeer's
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2009:
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Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution.
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499:) on the wall behind the foot warmer. The basket was later discovered with an
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exhibit (September 10, 2009 – November 29, 2009). Audio. Includes transcript.
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Differencing the Canon Feminist Desire and the Writing of Art's Histories.
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Verwayen, Harry; Arnoldus, Martijn; Kaufman, Peter B. (November 2011).
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Metropolitan Museum of Art (New York, N.Y.), and Liedtke, Walter A.
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snapped to get perspective lines, Liedtke said in a 2009 interview.
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effect" in modern viewers' reactions to the painting, according to
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1265:"Catalogue of paintings by the late Pieter de Neufville, nr. 65"
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The leading artists in this tradition were the Antwerp painters
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The painting returned to New York in 2009, on the occasion of
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308:(1579–1657), who had many followers and imitators, as well as
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Rand, Harry. 1998. "Wat maakte de 'Keukenmeid' van Vermeer?"
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The woman's coarse features are painted with thick dabs of
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The Ghost of Vermeer of Delft Which Can Be Used as a Table
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Henderson, Jasper, Victor Schiferli, and Lynne Richards.
312:(who, like Beukelaer, had clients in Delft), the Utrecht
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1061:. New Haven and London: Yale University Press. pp.
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Liedtke, Walter; Plomp, Michiel C.; Ruger, Axel (2001).
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painted several comic pictures now given titles such as
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Special Exhibition: Vermeer’s Masterpiece, The Milkmaid
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Berkeley, Calif: University of California Press, 1997.
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in Milan. In 1966, it was part of an exhibition at the
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The woman would have been known as a "kitchen maid" or
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Painting detail showing the foot warmer, with tiles of
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New York : The Metropolitan Museum of Art, 2001.
820:"The Milkmaid, Johannes Vermeer, c 1660 - Rijksmuseum"
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293:. Some of the paintings were slyly suggestive, like
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Washington: National Gallery of Art, 1998. Vol. 55.
1006:"Vermeer's 'Milkmaid' cause for celebration at MMA"
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745:in Paris. In 1999 and 2000 the painting was at the
1549:The Milkmaid by Johannes Vermeer / Walter Liedtke.
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1290:"Vermeer's 'Milkmaid' to Be Loaned to NYC Museum"
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1519:- Translated from the Dutch from Lynne Richards.
1551:New York: The Metropolitan Museum of Art, 2009
1577:Vermeer and the Delft School / Walter Liedtke.
1441:New Haven, Conn: Yale University Press, 2004.
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1420:Cambridge: Cambridge University Press, 2001.
1102:Cant, Serena; Vermeer van Delft, Jan (2009).
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697:("Exhibition of Dutch Art", London) in 1929;
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89:H 45.5 cm Ă— W 41 cm (
1789:. September 18, 2009. Audio interview with
1718:Wheelock, Arthur K., and Johannes Vermeer.
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1530:series. Amsterdam: Time-Life Books, 1985.
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664:(1785–1845). In 1822 she married into the
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351:Other painters in this tradition, such as
1395:Cant, Serena, and Jan Vermeer van Delft.
1004:Boros, Phyllis A.S. (13 September 2009).
963:
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1793:, curator of a Vermeer exhibit. (18 min)
1701:New Haven: Yale University Press, 1995.
1479:Gowing, Lawrence, and Johannes Vermeer.
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1986:Girl Reading a Letter at an Open Window
1502:Vermeer: The Life and Work of a Master.
1378:New York: Konecky & Konecky, 1992.
324:(1596–1660). Closer to Vermeer's day,
279:frequently reflected in Dutch paintings
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1915:Christ in the House of Martha and Mary
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1173:from the original on 15 September 2009
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964:Rosenberg, Karen (11 September 2009).
656:In 1765 the painting was auctioned by
16:1658–1661 painting by Johannes Vermeer
2371:Isabella Stewart Gardner Museum theft
2194:A Young Woman Seated at the Virginals
1867:
1682:Vermeer, Johannes, and Taco Dibbits.
1201:Lopate, Leonard (19 September 2009).
1142:, 2001, p. 372; citing Samuel Pepys'
1104:Vermeer and His World 1632–1675
1003:
954:
794:List of paintings by Johannes Vermeer
55:–1658 (though estimates differ)
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1845:- detailed, interactive analysis on
1327:"The Problem of the Yellow Milkmaid"
1226:from the original on 30 October 2020
1159:Laneri, Raquel (12 September 2009).
2456:Genre paintings by Johannes Vermeer
2162:Lady Writing a Letter with her Maid
1458:Gaskell, Ivan, and Michiel Jonker.
1418:The Cambridge Companion to Vermeer.
966:"A Humble Domestic Crosses the Sea"
13:
1699:Vermeer & the Art of Painting.
1374:, and Johannes Vermeer van Delft.
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1106:. London: Quercus Publishing Plc.
932:"The Milkmaid by Johannes Vermeer"
281:of kitchen and market scenes from
14:
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1797:
1397:Vermeer and His World, 1632-1675.
1345:from the original on 2 April 2015
1306:from the original on 2 April 2015
879:(September 10–November 29, 2009)"
699:Galerie nationale du Jeu de Paume
2427:
2426:
1563:The Milkmaid by Johannes Vermeer
1524:The World of Vermeer, 1632-1675.
978:from the original on 9 July 2018
942:from the original on 25 May 2019
891:from the original on 2 July 2019
513:Young Woman with a Water Pitcher
207:on the left side of the canvas.
27:
1271:from the original on 2015-09-25
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1238:
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832:from the original on 3 May 2019
427:Narrative and thematic elements
1829:The Metropolitan Museum of Art
1504:Amsterdam: Rijksmuseum, 2011.
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550:. Along with the ultramarine,
247:The Metropolitan Museum of Art
1:
1994:Girl Interrupted at Her Music
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1722:New York: H.N. Abrams, 1997.
1636:Bulletin Van Het Rijksmuseum.
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799:
703:Museum Boijmans Van Beuningen
610:
49:
2461:Paintings in the Rijksmuseum
2382:All the Vermeers in New York
2002:The Girl with the Wine Glass
1720:Vermeer: The Complete Works.
1686:Tokyo: Tokyo Shimbun, 2007.
1598:Vermeer and the Delft School
1136:Vermeer and the Delft School
1058:Vermeer and the Delft School
658:Leendert Pieter de Neufville
159:of a "milkmaid", in fact, a
7:
2186:Lady Standing at a Virginal
2066:Woman with a Pearl Necklace
1570:- 2009 exhibition catalogue
775:
760:, the 400th anniversary of
662:Lucretia Johanna van Winter
384:The Archer and the Milkmaid
297:, others more coarsely so.
273:rather than a specialised "
210:The painting is strikingly
190:Descriptions and commentary
10:
2497:
1603:Metropolitan Museum of Art
1568:Metropolitan Museum of Art
884:Metropolitan Museum of Art
766:Dutch Golden Age paintings
723:Metropolitan Museum of Art
691:Stedelijk Museum Amsterdam
516:or the ethereal beauty in
320:(1566–1638), and his son,
253:Dutch iconography of maids
184:Metropolitan Museum of Art
2424:
2361:Dutch Golden Age painting
2317:
2307:Girl with a Pearl Earring
2299:Girl with a Pearl Earring
2291:Girl with a Pearl Earring
2272:
2231:
2212:
2178:Lady Seated at a Virginal
2082:Girl with a Pearl Earring
1962:Officer and Laughing Girl
1901:
1831:- 2009 Vermeer exhibition
1752:on Vermeer’s Masterpiece
1694:- 2007 exhibition catalog
1617:London: Routledge, 1999.
1605:- 2001 exhibition catalog
1134:Liedtke, Walter, et al.,
782:Dutch Golden Age painting
731:Palazzo delle Esposizioni
715:Detroit Institute of Arts
519:Girl with a Pearl Earring
121:
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69:
59:
45:
35:
26:
21:
2471:Food and drink paintings
1938:Diana and Her Companions
1203:"Vermeer's The Milkmaid"
1146:, entry for May 19, 1660
708:It was exhibited at the
227:"It's a little bit of a
2417:(2013 documentary film)
2351:Delft School (painting)
2346:Antonie van Leeuwenhoek
2090:A Lady Writing a Letter
2034:Woman Holding a Balance
1822:Vermeer's Masterpiece:
1782:The Leonard Lopate Show
1665:New York: Knopf, 1987.
1575:Plomp, Michiel, et al.
1399:London: Quercus, 2009.
1245:Dissius collection sale
1215:The Leonard Lopate Show
1138:, New Haven and London:
875:"Vermeer's Masterpiece
747:National Gallery of Art
526:Technique and materials
2264:Arthur K. Wheelock Jr.
2239:Théophile Thoré-Bürger
2106:Study of a Young Woman
2050:Woman Reading a Letter
2026:Woman with a Water Jug
1638:46, no. 2-3: 275-278.
1254:retrieved June 4, 2010
1206:(Audio interview with
625:
461:Compositional strategy
400:
266:
157:oil-on-canvas painting
2170:The Allegory of Faith
1817:Rijksmuseum Amsterdam
1522:Koningsberger, Hans.
1140:Yale University Press
825:Rijksmuseum Amsterdam
741:in the Hague and the
695:Royal Academy of Arts
677:or Dutch parliament.
618:
392:
260:
241:of the department of
161:domestic kitchen maid
2366:Hockney–Falco thesis
2254:John Michael Montias
1697:Wheelock, Arthur K.
1335:Europeana Foundation
743:Musée de l'Orangerie
398:Girl Chopping Onions
359:(now in the British
357:Girl Chopping Onions
151:), sometimes called
103: in Ă—
2409:(2008 history book)
2213:Formerly attributed
2122:The Art of Painting
2098:Girl with a Red Hat
788:The Basket of Bread
542:(made from crushed
380:Jacques de Gheyn II
304:(c. 1535–1575) and
2481:Paintings of women
2476:Paintings of Cupid
2390:Writing to Vermeer
2335:Pieter van Ruijven
1852:Johannes Vermeer,
1811:2012-07-13 at the
1460:Vermeer Studies: .
1437:Franits, Wayne E.
1416:Franits, Wayne E.
1302:. 14 August 2009.
1250:2020-11-01 at the
1085:Schama, Chapter 6.
1018:on 9 November 2018
971:The New York Times
629:Pieter van Ruijven
626:
401:
302:Joachim Beuckelaer
267:
243:European paintings
221:The New York Times
2438:
2437:
2221:Girl with a Flute
2202:The Guitar Player
2114:Mistress and Maid
2042:Woman with a Lute
1970:The Little Street
1842:Essential Vermeer
1772:Lopate, Leonard.
1759:Liedtke, Walter.
1746:Liedtke, Walter.
1728:978-0-810-92751-3
1707:978-0-300-06239-7
1671:978-0-394-51075-0
1623:978-1-135-08440-0
1611:Pollock, Griselda
1585:978-0-870-99973-4
1536:978-0-900-65858-7
1510:978-9-086-89068-2
1489:978-0-520-21276-3
1468:978-0-300-07521-2
1447:978-0-300-10237-6
1426:978-0-521-65330-5
1405:978-1-849-16005-6
1384:978-1-568-52308-8
1113:978-1-849-16005-6
936:Essential Vermeer
710:1939 World's Fair
671:Rembrandt Society
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132:, the Netherlands
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2074:The Music Lesson
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369:Lucas van Leyden
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330:The Lazy Servant
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1923: 1655
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687:old masters
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415:In Dutch,
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