Art History IIThe Dutch Golden Age

Vermeer and the Quiet Interior

Johannes Vermeer of Delft painted calm rooms lit from a side window, such as The Milkmaid (about 1660; some scholars say a little earlier), using tiny dots of light and costly ultramarine.

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Johannes Vermeer (1632 to 1675) spent his whole life in Delft. He painted slowly; only about 34 to 36 paintings are accepted as his today. Most show one or two people in a quiet room, lit from a window on the left. His buyers were local, and he was almost forgotten for two centuries until a French critic, Théophile Thoré-Bürger, championed him in the 1860s. Vermeer is the most famous painter of the Dutch market's everyday subjects.

Looking closely: The Milkmaid

Johannes Vermeer, The Milkmaid, about 1660. Rijksmuseum, Amsterdam.

Describe. A sturdy kitchen maid pours milk from a jug into a bowl. On the table are bread, a basket and a blue jug; on the wall, a basket and a brass pail; on the floor, a foot warmer and a row of tiles. Analyze. Light from the window falls across her face, her yellow bodice and the bread. Vermeer made the bread and basket glitter with tiny dots of light, a technique called pointillé. The colors are few and strong: yellow, blue and red, against a pale wall. Her arms and the table edge lead to the stream of milk. Interpret. Simple work is shown with care and dignity. Every object is still except the milk, and the scene feels calm and timeless.

Key idea

Vermeer of Delft painted calm rooms lit from a side window, with dots of light (pointillé) and costly natural ultramarine, as in The Milkmaid (about 1660).

Why it works

Ultramarine was made by grinding lapis lazuli, a stone mined in Afghanistan, and it cost more than gold by weight. Vermeer used it generously, even mixed into shadows, which gives his blues and his cool daylight their depth. Using such a pigment on a picture of a maid tells us how seriously he took the subject.

Common mistake

People state as fact that Vermeer traced an image from a camera obscura (a darkened box or room in which a lens projects a picture). Some scholars think he used one, pointing to effects like the glittering highlights and sharp perspective; others disagree. There is no direct evidence, such as a document or traced lines. Say "may have used," not "used."
Two more Vermeers: Girl with a Pearl Earring (A), a tronie, and View of Delft (B).

Girl with a Pearl Earring (about 1665) is not a portrait of a known person. It is a tronie, a Dutch term for a study of a face, here in an exotic turban. View of Delft (about 1660 to 1661) shows his city across the water under a wide, cloudy sky.

Worked example: Is it a portrait?

A museum label calls Girl with a Pearl Earring a tronie. Does that mean we know who the sitter was?
  1. A tronie is a study of a face, often in costume.
  2. It was painted to sell as a character study, not ordered by a sitter.
  3. So it does not record a particular person, and her identity is unknown.

Answer: No: a tronie is a character study, and the sitter is unknown.

Dating is debated. The Rijksmuseum dates The Milkmaid about 1660; some scholars place it a little earlier, about 1657 to 1658. Vermeer rarely dated his paintings, so their order is worked out from style and technical study.

Practice

Pass with 3 right answers, the last 2 in a row. Each right answer earns 2 XP.

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Sources and further reading

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