Free shipping on orders of $35+ or same-day pick-up in store. The girl has turned in her chair and interacts with the viewer through her direct gaze. [2] The male bust was executed in a dark brown painted sketch, before flesh tones were applied to the face and white to the kerchief. [fig. As suggested by Charles Seymour Jr., “Dark Chamber and Light-Filled Room: Vermeer and the Camera Obscura,” Art Bulletin 46 (September 1964): 323– 331. Considering that Vermeer was an art dealer and may have studied under Fabritius, he could well have owned others during his lifetime. Export from an artist page includes image if available, biography, notes, and bibliography. Alejandro Vergara. The explanation may simply be that for such a small study panel was a more appropriate support than canvas. For example, Frans Hals (Dutch, c. 1582/1583 - 1666), who apparently invented the pose, used it often. One of the many misconceptions about Vermeer’s painting style that has affected theories regarding his use of the camera obscura, including that of Seymour, is that Vermeer was a realist in the strictest sense, that his paintings faithfully record models, rooms, and furnishings he saw before him. Thus, even though he must have referred to an image from a camera obscura when painting Girl with the Red Hat and sought to exploit some of its optical effects, including the intensified colors, accentuated contrasts of light and dark, and circles of confusion, it is most unlikely that he traced the image directly on the panel. His reconstruction of Vermeer’s painting procedure, however, is untenable. B. de Vries, copy in NGA curatorial files). Washington, DC, United States Girl with the Red Hat is one of Johannes Vermeer ’s smallest works, and it is painted on panel rather than on his customary canvas. A cradle, including a wooden collar around all four sides of the panel, was attached before the painting entered the collection. He drapes the figure’s arm over the chair, subordinating the horizontal for a more active diagonal emphasis. Girl Reading a Letter at an Open Window, 1657, Lady Writing a Letter with Her Maid, 1670. 4] [fig. Although only a portion of the tapestry is visible, it appears that two rather large-scale figures are depicted behind the girl. Vermeer minimized the diagonal thrust of the girl’s arm by partially obscuring it behind the lion finials of the chair. I would darken the background completely, leaving out that brownish detail in … The reflections of light take shape as pale, densely applied brushstrokes See in particular Arthur K. Wheelock Jr., See Charles Seymour Jr., “Dark Chamber and Light-Filled Room: Vermeer and the Camera Obscura,”. of white and yellow paint which animate the surfaces of the different objects and materials and bring them close to the picture surface, reminding us that we in looking at a painted object in contrast to these strongly lit areas, 6th St and Constitution Ave NW FREE Shipping. Oil on panel, 38.5 x 31 cm, illustrated in Christopher Brown. It is employed in his Portrait of a Young Man, to capture an informal, momentary impression of the sitter. This type of work was to some extent experimental, and allowed artists to investigate the expression and clothing of the figures rather than focus on a faithful reproduction of their features. It was sold for 200 French francs. she communicates directly with us, both staring out and drawing us in. Portrait of a girl in red hat and dress with black lace. See John Michael Montias, Vermeer and His Milieu: A Web of Social History, Princeton, 1989: 359, doc. Girl with a Red Hat 1668 (?) [2] The lower ground consists of calcium carbonate, the upper ground of white lead lightly toned with earth and black (see Melanie Gifford, "Painting Light: Recent Observations on Vermeer's Technique," in Vermeer Studies, ed. $9.49 $ 9. Read our full Open Access policy for images. See Charles Seymour Jr., “Dark Chamber and Light-Filled Room: Vermeer and the Camera Obscura,” Art Bulletin 46 (September 1964): 323–331. 4] X-radiograph composite, Johannes Vermeer. The infrared reflectogram composite reveals a great flourish of strokes to the right of the face that represented the man’s long curly hair. The pose of a girl looking over her shoulder at the viewer is commonly found in Vermeer’s oeuvre, although in no other instance does she lean an arm on the back of a chair. Some of the specialists who have doubted Vermeer's What will first strike the modern viewer will be the woman's fashions - no doubt these were commonplace in her era, and Vermeer has succeeded in preserving this bygone mode of dress for generations of the present day. P. T. A. Swillens, Johannes Vermeer: Painter of Delft, 1632–1675 (Utrecht, 1950), was the foremost proponent of this interpretation of Vermeer’s manner of painting. Girl With a Red Hat (c.1666) Contents • Description • Interpretation/Meaning of Girl With a Red Hat • Analysis of Other Works by Vermeer. Infrared reflectography at 1.1 to 2.5 microns[1] shows a cape across his shoulder, a broad-brimmed hat, locks of long curling hair, and vigorous brushwork in the background. It is possible that the girl was not sitting on the lion finial chair at all and that Vermeer placed it in the foreground to act as a foil. Closed. 28). 1665/1666,” Dutch Paintings of the Seventeenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/60 (accessed May 18, 2021). [15] [15]The only other panel painting attributed to Vermeer is the National Gallery of Art’s Girl with a Flute. In Girl with the Red Hat he has accentuated the diffuse yellow highlights on the girl’s blue robes, whereas in a camera obscura reflections off unfocused cloth create blurred images. See Charles Seymour Jr., “Dark Chamber and Light-Filled Room: Vermeer and the Camera Obscura,” Art Bulletin 46 (September 1964): 323– 331. Walter Liedtke. West Building Luckily, I had a photograph where he was in a similar pose. Photo: Harry Beville, He may also have recognized that the peculiarly soft quality of these unfocused highlights would beautifully express the luminosity of pearls. The possibility that he traced his more complex compositions is even more remote. [6] [6]Albert Blankert, Rob Ruurs, and Willem L. van de Watering, Johannes Vermeer van Delft 1632-1675 (Utrecht, 1975; English ed., Oxford, 1978), 109, in particular, emphasizes the position of the finials in his arguments against the attribution of the painting to Vermeer. [17] [17]John Michael Montias, Vermeer and His Milieu: A Web of Social History (Princeton, 1989), 339, doc. 11:00 a.m. to 4:00 p.m. daily Thus even in paintings such as, This misconception lies at the basis of the interpretation of Vermeer’s use of the camera obscura advanced by Daniel E. Fink, “Vermeer’s Use of the Camera Obscura: A Comprehensive Study,”, As suggested by Charles Seymour Jr., “Dark Chamber and Light-Filled Room: Vermeer and the Camera Obscura,”, The only other panel painting attributed to Vermeer is the National Gallery of Art’s. The choice of support, however, may also relate to the use of the camera obscura. painted surface: 22.8 x 18 cm (9 x 7 1/16 in. The attribution of Girl with the Red Hat to Vermeer has been doubted by Frithjof van Thienen, Jan Vermeer of Delft (New York, 1949), 23. Particularly striking are the light reflections on the right lion-head finial, which have the diffused characteristic of unfocused points of light in a photograph, called “halation of highlights.” It is highly unlikely that Vermeer could have achieved this effect without having witnessed it in a camera obscura. [12] [12]As suggested by Charles Seymour Jr., “Dark Chamber and Light-Filled Room: Vermeer and the Camera Obscura,” Art Bulletin 46 (September 1964): 323– 331. John Michael Montias, Vermeer and His Milieu: A Web of Social History (Princeton, 1989), 339, doc. 1] Attributed to Johannes Vermeer, Girl with a Flute, probably 1665/1675, oil on panel, National Gallery of Art, Washington, Widener Collection, 1942.9.98, which has been often wrongly viewed as a pendant. authorship have pointed to the incorrect alignment of the two lions' heads on the chair on which the girl leans her right arm. It hangs in the National Gallery of Art, Washington, DC. It is painted on panel rather than on canvas.It is one of Vermeer's smallest pictures. [2] Lafontaine collection, Paris; (his sale, Hôtel de Bouillon, Paris, 10-12 December 1822 [postponed from 27-29 November], no. $25.99 $ 25. Comparing Alternative Sound + Light Healing Modalities The top of the chair, if extended to the left finial, would intersect it above the bottom of the ring that loops through the lion’s mouth. Layered applications of paint of varying transparencies and thicknesses, often blended wet-into-wet, produced soft contours and diffused lighting effects. Figures and their environments are subtly interlocked through perspective, proportions, and color. Girl with the Red Hat is one of Johannes Vermeer’s smallest works, and it is painted on panel rather than on his customary canvas. upper center of tapestry in ligature: IVM. The artist’s exquisite use of color is this painting’s most striking characteristic, for both its compositional and its psychological effects. The lushness of her blue robes, the almost passionate flaming red of her hat, and the subtle interplay of green and rose tones in her face give her a vibrancy unique in Vermeer’s paintings. 3] Experimental photograph, lion-head finial. 7] [fig. Little girl in a red hat and gold dress keep in hands a purse. [18] [18]For another small painting in the National Gallery of Art collection where one artist has reused a panel previously painted by another artist by turning the image 180 degrees, see Follower of Rembrandt van Rijn, Study of an Old Man. Girl with the Red Hat has a curious status among Vermeer scholars. The patterned vertical strip on the right is probably the outer border. girl in the present painting and her expectant expression with its half-open mouth, intense gaze and impression of having just turned her head to look at us, indicate that this work is a tronie. The paint used to model the girl was applied with smoothly blended strokes. Unlike most of his figures, she does not exist in a cerebral, abstract world. His reconstruction of Vermeer’s painting procedure, however, is untenable. The little girl in a red hat. 2] [fig. 1] [fig. The emotional response elicited by Girl with the Red Hat is, indeed, different from that found in other of his paintings, for as the girl turns outward, with her mouth half opened, her eyes seem lit with expectancy. The term tronie had various meanings in the seventeenth century, but generally it denoted a small, relatively inexpensive bust-length figure study. Girl with the Red Hat is one of Johannes Vermeer ’s smallest works, and it is painted on panel rather than on his customary canvas. For another small painting in the National Gallery of Art collection where one artist has reused a panel previously painted by another artist by turning the image 180 degrees, see Follower of Rembrandt van Rijn, Admission is always free, timed entry passes required. Dissius [1653-1695], Delft; (sale, Amsterdam, 16 May 1696, probably no. Vermeer concentrated the two major colors in two distinct areas: a vibrant red for the hat and a sumptuous blue for the robe; he then used the intensity of the white cravat to unify the whole. She also notes that the tapestries in Vermeer’s paintings belong to the same period (see her letter of May 7, 1974, to A. Girl with a Red Hat is a perfect example of Johannes Vermeer's skill. The painting had been treated previously in 1933, probably by Louis de Wild, and in 1942 by Frank Sullivan. [3] Bernard Roulier, the Baroness’ great-grandson, related the family’s history of their ownership of the painting in a letter of 6 October 1983 to J. Carter Brown (copy in NGA curatorial files). 7th St and Constitution Ave NW The artwork fine art print and hand painted oil reproduction of the painting Girl with a Red Hat, oil painting of Jan Vermeer van Delft we deliver as art print on canvas, poster, plate or finest hand made paper. Girl With a Red Hat By Jan Vermeer, the leader of the Delft Dutch Realist artists. Thus even in paintings such as Woman Holding a Balance, whose genesis probably has little to do with the camera obscura, these optical effects are apparent. colors of the underlayers and the way of applying lights and color, as well as the impression of immediacy and control which the girl's pose conveys, all point to Vermeer. 6] Upside-down X-radiograph composite, Johannes Vermeer. When I am an old woman I shall wear purple With a red hat which doesn't go, and doesn't suit me. The absorption of infrared wavelengths varies for different pigments, so the resultant image can help distinguish the pigments that have been used in the painting or underdrawing. [fig. Media in category "Girl with a Red Hat (Vermeer)" The following 2 files are in this category, out of 2 total. Cute Comfy Flex Fit Woven Beach Cowboy Hat, Western Cowgirl Hat with Wooden Beaded Hatband. [1] [1]The attribution of Girl with the Red Hat to Vermeer has been doubted by Frithjof van Thienen, Jan Vermeer of Delft (New York, 1949), 23. 417. P. T. A. Swillens, Johannes Vermeer: Painter of Delft, 1632–1675 (Utrecht, 1950), was the foremost proponent of this interpretation of Vermeer’s manner of painting. Benjamin Binstock has attributed Girl with a Red Hat to Vermeer’s daughter Maria Vermeer; see Benjamin Binstock, Vermeer's Family Secrets: Genius, Discovery, and the Unknown Apprentice (New York, 2009), 247–257, 253 repro. 40 as "A pendant of the same.". 7] Upside-down infrared reflectogram, Johannes Vermeer. suggests that he used them creatively as well, and not totally in accordance with their actual appearance in a camera obscura. Girl with the Red Hat is one of Johannes Vermeer’s smallest works, and it is painted on panel rather than on his customary canvas. As in Frans Hals’ Portrait of a Young Man, only the back of the lion’s head should be visible. The term tronie had various meanings in the seventeenth century, but generally it denoted a small, relatively inexpensive bust-length figure study. Previous painting. The painting was treated in 1994 to remove discolored varnish and inpaint. Following in his father’s footsteps, Vermeer also was an art dealer in Delft. Oil on panel. 7] Upside-down infrared reflectogram, Johannes Vermeer, Girl with the Red Hat, c. 1665/1666, oil on panel, National Gallery of Art, Washington, Andrew W. Mellon Collection, 1937.1.53). He hypothesized that the peculiar arrangement of the finials arose as a result of Vermeer’s use of a mirror. 38 in the sale is described as "a tronie in antique dress, uncommonly artful"; item no. 4.7 out of 5 stars 465. 3] Experimental photograph, lion-head finial. I shall sit down on the pavement when I'm tired And gobble up samples in shops and press alarm bells And run my stick along the public railings And make up for the sobriety of my youth. 4.3 out of 5 stars 102. The sumptuousness of the materials and the depth and intensity of the color range used by Vermeer contributed to the sense of warmth ABOUT THIS PAINTING The painting handmade executed professional acrylic paints on canvas. For reactions to Blankert’s rejection of this painting, see the reviews by Christopher Brown (Christopher Brown, review of Albert Blankert, Rob Ruurs, and Willem L. van de Watering, Johannes Vermeer van Delft 1632–1675 [Utrecht, 1975], Simiolus 9 [1977]: 56–58) and Arthur K. Wheelock Jr. (Arthur K. Wheelock Jr., review of Albert Blankert, Rob Ruurs, and Willem L. van de Watering, Johannes Vermeer van Delft 1632–1675 [Utrecht, 1975], Art Bulletin 59 [September 1977]: 439–441). Free, timed passes are required, Sculpture Garden Possibly Pieter Claesz van Ruijven [1624-1674], Delft; possibly by inheritance to his wife, Maria de Knuijt [d. 1681]; possibly by inheritance to her daughter, Magdalena van Ruijven [1655-1682], Delft;[1] possibly by inheritance to her husband, Jacob Abrahamsz. Oil on panel, 38.5 x 31 cm, illustrated in Christopher Brown, Carel Fabritius (Oxford, 1981), pl. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA. Albert Blankert, Rob Ruurs, and Willem L. van de Watering. Although such studies could have been commissioned portraits, most were probably figure types, or character studies, produced for the open market. 2] Detail of lion-head finial, Johannes Vermeer, Girl with the Red Hat, c. 1665/1666, oil on panel, National Gallery of Art, Washington, Andrew W. Mellon Collection, 1937.1.53 and [fig. Only in the late nineteenth century did Vermeer achieve widespread fame for his intimate genre scenes and quiet cityscapes. The paint in the white kerchief around the girl’s neck has been scraped back to expose darker paint below. Order reproductions from the Gallery Shop. 364. The face is modeled with a number of bold rapid strokes that have not been blended together. upper left. Read our full Open Access policy for images. See Charles Seymour Jr., “Dark Chamber and Light-Filled Room: Vermeer and the Camera Obscura,” Art Bulletin 46 (September 1964): 323–331. [fig. ), framed: 40.3 x 35.6 x 4.4 cm (15 7/8 x 14 x 1 3/4 in. [4] [4]For example, Frans Hals (Dutch, c. 1582/1583 - 1666), who apparently invented the pose, used it often. He drapes the figure’s arm over the chair, subordinating the horizontal for a more active diagonal emphasis. Note: Exhibition history, provenance, and bibliography are subject to change as new information becomes available. She also notes that the tapestries in Vermeer’s paintings belong to the same period (see her letter of May 7, 1974, to A. See Charles Seymour Jr., “Dark Chamber and Light-Filled Room: Vermeer and the Camera Obscura,” Art Bulletin 46 (September 1964): 323– 331. He demonstrated, with the aid of excellent experimental photographs, the close similarity of Vermeer’s painterly treatment of the lion-head finial and an unfocused image seen in a camera obscura ([fig. Export from an object page includes entry, notes, images, and all menu items except overview and related contents. As is evident in all his other mature works, the compositions are the product of intense control and refinement. Painted mostly in shadow, light i The general character, appearance, and some of the techniques of this work relate closely to Vermeer’s other works, especially to Girl with the Red Hat.The quality of execution, however, does not match the master’s standards, probably because the image was extensively revised in the seventeenth century. 3. Girl with a Red Hat is a rather small painting, signed by the Dutch painter Johannes Vermeer. The only other panel painting attributed to Vermeer is the National Gallery of Art’s Girl with a Flute. Baron Louis Marie Baptiste Atthalin [1784-1856], Colmar; by inheritance to his nephew and adopted son, Louis Marie Félix Laurent-Atthalin [1818-1893], Colmar and Paris; by inheritance to his son, Baron Gaston Marie Laurent-Atthelin [1848-1912], Paris and Château des Moussets, Limay, Seine-et-Oise; by inheritance to his wife, Baroness Marguerite Chaperon Laurent-Atthalin [1854-1931], Paris;[3] (M. Knoedler & Co., New York and London); sold November 1925 to Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 30 March 1932 to The A.W. See in particular Arthur K. Wheelock Jr., Jan Vermeer (New York, 1981), note 41. For reactions to Blankert’s rejection of this painting, see the reviews by Christopher Brown (Christopher Brown, review of Albert Blankert, Rob Ruurs, and Willem L. van de Watering, Johannes Vermeer van Delft 1632–1675 [Utrecht, 1975], Simiolus 9 [1977]: 56–58) and Arthur K. Wheelock Jr. (Arthur K. Wheelock Jr., review of Albert Blankert, Rob Ruurs, and Willem L. van de Watering, Johannes Vermeer van Delft 1632–1675 [Utrecht, 1975], Art Bulletin 59 [September 1977]: 439–441). 39 as "Another ditto Vermeer"; and item no. These similarities, as well as the comparably generalized forms of the girls’ heads in the two paintings, argue for a close chronological relationship. [fig. Original large painting Girl with a Red Hat by ArtColorSpace. 2] Detail of lion-head finial, Johannes Vermeer, [fig. Provenance: The painting is only known since a Paris sale of 1822, in which it was described as a work by Vermeer van Delft. Preparations for holidays with kids. The idea that Vermeer adjusted forms in such a manner is incompatible with those who believe that he totally and faithfully recorded his physical environment. Arthur K. Wheelock Jr., “Johannes Vermeer/Girl with the Red Hat/c. 1665/1666 , Johannes Vermeer, Oil on panel, 22.8cm x 18cm, Andrew W. Mellon Collection, National Gallery of Art, Washington, D.C. We tread surreptitiously towards this miniscule painting; we corner her awkwardly in a crowded space. Mellon Educational and Charitable Trust, The A.W. Your Girl with a Red Hat Canvas Print is individually hand-made, using sophisticated digital technology. Girl Reading a Letter at an Open Window, 1657; Officer and Laughing Girl, 1658; The Milkmaid, 1658; View of Delft, 1660; Girl with a Red Hat, 1665; The Music Lesson, 1665; Woman in Blue Reading a Letter, 1663; Woman with a Water Jug, 1664; The Concert, 1664; The Girl with a Pearl Earring, 1665 The Royal Court of Queens Processional at a conference, 2014. Whereas the Woman Holding a Balance is an involved composition, imbued with complex forms and symbolism, the Girl with the Red Hat is no more than a bust, portrayed with a feeling of spontaneity and informality that is unique in the artist’s oeuvre. He may have chosen a hard, smooth surface to lend to his small study the sheen of an image seen in a camera obscura as it is projected onto a ground glass or tautly stretched oiled paper. Situated before a backdrop of a figured tapestry,[3] [3]Although only a portion of the tapestry is visible, it appears that two rather large-scale figures are depicted behind the girl. See in particular Arthur K. Wheelock Jr., Jan Vermeer (New York, 1981), note 41. [11] [11]This misconception lies at the basis of the interpretation of Vermeer’s use of the camera obscura advanced by Daniel E. Fink, “Vermeer’s Use of the Camera Obscura: A Comprehensive Study,” Art Bulletin 53 (December 1971): 493–505. P. T. A. Swillens. To understand the subject of this painting we need to set it in the context of the tronien, a Dutch term which refers to paintings of busts or heads, generally wearing hats or exotic clothes and depicting anonymous or fictive Buy girl with a red hat canvas prints designed by millions of independent artists from all over the world. Item no. A. M. Louise E. Muler-Erkelens, keeper of textiles, Rijksmuseum, Amsterdam, relates this format to late sixteenth-century tapestries of the southern Netherlands. (artist) This attitude also underlies the writings about Vermeer by Albert Blankert. The first art historian to note this discrepancy was Reginald Howard Wilenski. The panel was initially prepared with a light tan double ground. Oil on panel, 23 x 18 cm National Gallery of Art, Washington: Signature: Monogram(?) [1] Infrared reflectography was performed with a Santa Barbara focal plane array InSb camera fitted with H, J, and K astronomy filters. Photo: Harry Beville). The Gallery writes, "[The] subject has turned in her chair and interacts with the viewer through her direct gaze. 439. Description. Interestingly, the spatial discrepancies are not really noticeable until one begins analyzing the painting very closely. It is visible in the X-radiograph [see X-radiographyX-radiography A photographic or digital image analysis method that visually records an object's ability to absorb or transmit x-rays. Because the man is in the reverse position of the girl, it is possible to examine his face in the X-radiograph without too much interference from the surface image ([fig. With the aid of a lens, it allowed the user to project an image from the exterior onto a wall in a dark room or on the surface of a small chamber … Copyright © 2011-Present www.JohannesVermeer.org. To ensure the success of every Red Hatter, we offer flexible scheduling, career growth and development opportunities, remote options, health and well-being initiatives, meaningful rewards, and associate recognition programs. For another small painting in the National Gallery of Art collection where one artist has reused a panel previously painted by another artist by turning the image 180 degrees, see Follower of Rembrandt van Rijn, Study of an Old Man. This segment examines the National Gallery's painting Girl with the Red Hat. There is no documentation of his artistic training or apprenticeship, but in 1653 he became a master in the Saint Luke’s Guild in Delft; he would serve as head of that guild four times in the 1660s and 1670s. B. de Vries, copy in NGA curatorial files). He may also have recognized that the peculiarly soft quality of these unfocused highlights would beautifully express the luminosity of pearls. Among all of Vermeer's paintings, Girl with a Red Hat is perhaps the one which comes closest to the type of image produced by an instrument known as the camera obscura, an optical device which aroused the curiosity of 6] [fig. Baby Girl Sun Hat UPF 50+ Cute Baby Sun Hat Summer Beach Baby Girl Hats Sun Protection Toddler Infant Sun Hat. As the model for this painting is the same person as in Earring, the inescapable conclusion is that Girl With the Red Hat is a self-portrait by Maria Vermeer. The finials, moreover, face toward the viewer, whereas if they belonged to the chair upon which the girl sits, they should face toward her. Vermeer retained warmth in the robe by painting the blue over a reddish-brown ground. See Charles Seymour Jr., “Dark Chamber and Light-Filled Room: Vermeer and the Camera Obscura,” Art Bulletin 46 (September 1964): 323– 331. [10] [10]He may also have recognized that the peculiarly soft quality of these unfocused highlights would beautifully express the luminosity of pearls. The painting was rejected by P. T. A. Swillens, Johannes Vermeer: Painter of Delft, 1632–1675 (Utrecht, 1950), 65; Albert Blankert, Rob Ruurs, and Willem L. van de Watering, Johannes Vermeer van Delft 1632–1675 (Utrecht, 1975; English ed., Oxford, 1978), 167–172; Yvonne Brentjens, “Twee meisjes van Vermeer in Washington,” Tableau 7 (February 1985): 54–58; and Gilles Aillaud, Albert Blankert, and John Michael Montias, Vermeer (Paris, 1986), 200–201. The bright red of the hat advances, heightening the immediacy of the girl's glance, while the blue of the robe recedes, balancing the composition. See inventory number 92, from Mauritshuis, The Hague. The portrait of the young girl was painted directly over the underlying composition, with the exception of the area of the man’s kerchief, which Vermeer apparently toned down with a brown paint. Benjamin Binstock has attributed Girl with a Red Hat to Vermeer’s daughter Maria Vermeer; see Benjamin Binstock, Vermeer's Family Secrets: Genius, Discovery, and the Unknown Apprentice (New York, 2009), 247–257, 253 repro. The process of Giclée print technology imparts to the Art Print a vivid clear color, an incredible level of detail, and the authentic charm as from a museum original. experts are not in agreement as to how or to what extent Vermeer and other artists used the camera obscura to compose their paintings, it is certain that the images which it produced characterize by the intensity of the colors and Although such studies could have been commissioned portraits, most were probably types. 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Https: //purl.org/nga/collection/artobject/60 ( accessed may 18, 2021 ) for girl with a red hat emphasis the... Young Man, only the back of the Delft Dutch Realist artists in Frans ’! “ Johannes Vermeer/Girl with the viewer through her direct gaze in 1994 to remove discolored varnish inpaint! Object 's internal structure as well as for comparing the variation in types. [ Washington, D.C. Critical Assessments of varying transparencies and thicknesses, often blended wet-into-wet, produced for the market... Vermeer 's smallest pictures the term tronie had various meanings in the National of! May also have recognized that the peculiarly soft quality of these unfocused highlights would beautifully the... Of Johannes Vermeer conference, 2014 the lion-head finials of the paintings, see the on... 35+ or same-day pick-up in store with Wooden Beaded Hatband accessed may 18, )! If available, biography, notes, and Willem L. van de Watering useful for examining an object internal! In his father ’ s girl with the Red Hat is portrayed with unusual spontaneity and informality and not in... Relatively inexpensive bust-length figure study: //purl.org/nga/collection/artobject/60 ( accessed may 18, )! These unfocused highlights would beautifully express the luminosity of pearls composition oriented 180 degrees with respect to use... The only other panel painting attributed to Vermeer is the National Gallery 's painting girl a... 1668 (? the sale is described as `` a tronie in antique dress, uncommonly ''. Gift 1937 to NGA ditto Vermeer '' ; item no a Man wearing a white around. Subject to change as New information becomes available more remote a Man with a Red Hat by Vermeer! Infant Baby Hat Caps with Bow soft cute Nursery Beanie Hat and this painting are undeniably different types ]. Reflected light spontaneity and informality Hat Caps with Bow soft cute Nursery Beanie.... Images, and not totally in accordance with their actual appearance in a Hat. Biography, notes, images, and all menu items except overview and related contents to remove discolored varnish inpaint. Available, biography, notes, images, and color girl with a Hat., 1998 ], Delft ; ( sale, Amsterdam, 16 may 1696, probably oak, with Red... In antique dress, uncommonly artful '' ; and item no cute Beanie! Were a study, or character studies, produced soft contours and diffused effects... “ Johannes Vermeer/Girl with the Red Hat is an oil painting by Johannes Vermeer.It dated...: Monogram (? Social History, Princeton, 1989: 359, doc,,!
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