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Johannes Vermeer (/ v ər ˈ m ɪər, v ər ˈ m ɛər / vər-MEER, vər-MAIR, Dutch: [joːˈɦɑnəs fərˈmeːr]; see below; also known as Jan Vermeer; October 1632 – 15 December 1675) was a Dutch painter who specialized in domestic interior scenes of middle-class life. He is considered one of the greatest painters of the Dutch Golden Age.
Vermeer's iconography in the painting is largely taken from Cesare Ripa's Iconologia, an emblem book (a collection of allegorical illustrations with accompanying morals or poems on a moral theme) which had been translated into Dutch in 1644 by D. P. Pers. The artist used various symbols that Ripa described and illustrated in his book, along ...
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Woman Reading a Letter (Dutch: Brieflezende vrouw) [1] [2] is a painting by the Dutch Golden Age painter Johannes Vermeer, produced in around 1663.It has been part of the collection of the City of Amsterdam since the Van der Hoop bequest in 1854, and in the Rijksmuseum in Amsterdam since it opened in 1885, the first Vermeer it acquired.
Johannes Vermeer (October 1632 – December 1675) was a Dutch Baroque Period [3] painter who specialized in domestic interior scenes of middle class life. His works have been a common theme in literature and films in popular culture since the rediscovery of his works by 20th century art scholars.
On the left side of the painting is a multi-paned window, from which the light source is provided for the scene. Vermeer used the same window design in nine of his other works (The Music Lesson, The Girl with the Wine Glass, The Glass of Wine, Officer and Laughing Girl, Lady Writing a Letter with her Maid, Woman with a Water Jug, Woman with a Lute, Woman Holding a Balance, and Woman with a ...
The Music Lesson, Woman Seated at a Virginal or A Lady at the Virginals with a Gentleman by Johannes Vermeer is a painting of a young female pupil playing a virginal during a music lesson with a male teacher. The man's mouth is slightly agape giving the impression that he is singing along with the music that the young girl is playing.
The pigment analysis of this painting [3] reveals the use of the pigments of the baroque period such as madder lake, yellow ochre, vermilion and lead white.Vermeer did not paint the robe of Christ with his usual blue pigment of choice ultramarine (see for example The Milkmaid) but with a mixture of smalt, indigo and lead white.