Girl with the Red Hat

c. 1669

Johannes Vermeer

Artist, Dutch, 1632 - 1675

Shown from the elbows up, a young person with pale skin and brown hair wearing a wide, scarlet-red hat sits in front of a tapestry in this vertical portrait painting. She sits with her body facing our right in profile but she turns her face to look at or toward us with dark eyes. She has a rounded nose, rather flat cheeks, and a sliver of teeth is visible through parted coral-pink lips. The wide brim of the red hat seems to be made of a soft, almost feathery material, and it casts a shadow across her face. She wears a high-collared white garment that catches the light, a royal-blue, possibly velvet, robe or overcoat, and large, teardrop pearl earrings. Her arm runs along the bottom edge of the panel in front of two carved, wooden lion finials that could be the arm or back of the chair. The tapestry behind her is painted in tones of pale caramel brown and pine green. The painting has a soft, hazy look, and light glints with bright white specks off the pearl earrings, the tip of her nose, her lips, and the lion finials.

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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. The girl has turned in her chair and interacts with the viewer through her direct gaze. Girl with the Red Hat is portrayed with unusual spontaneity and informality. The artist’s exquisite use of color is this painting’s most striking characteristic, for both its compositional and its psychological effects. 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.

Following in his father’s footsteps, Vermeer also was an art dealer in Delft. 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. Although he was well regarded in his lifetime, he was heavily in debt when he died in 1675. Only in the late 19th century did Vermeer achieve widespread fame for his intimate genre scenes and quiet cityscapes.

On View

West Building Main Floor, Gallery 50-A

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Artwork overview

  • Medium

    oil on panel

  • Credit Line

    Andrew W. Mellon Collection

  • Dimensions

    painted surface: 22.8 x 18 cm (9 x 7 1/16 in.)
    support: 23.2 x 18.1 cm (9 1/8 x 7 1/8 in.)
    framed: 40.3 x 35.6 x 4.4 cm (15 7/8 x 14 x 1 3/4 in.)

  • Accession

    1937.1.53

More About this Artwork

Shown from about the knees up, a pale, smooth-skinned woman in a fur-lined yellow jacket looks out at us as she sits writing at a table in this vertical painting. The woman’s body faces the table to our left. She turns her head to gaze at us from the corners of her dark gray eyes under faint brows. She has a wide nose, and her pale lips are closed. Her light brown hair is pulled back and held in place with white bows, and gleaming teardrop-shaped pearl earrings dangle from her ears. Her lemon-yellow jacket is trimmed with ermine fur, which is white with black speckles, at the cuffs and down the front opening. A full, elephant-gray skirt falls to the floor beneath the jacket. Both hands rest on the table, and she holds a quill in her right hand, farther from us, on a piece of paper. She leans forward in her wooden chair. The back panel of the chair is covered in black fabric and lined with brass studs. Two gilded finials, carved into lions’ heads, face the woman’s back with mouths open. The table is covered with a celestial-blue cloth crumpled near the left edge of the canvas. On the table are a strand of pearls, a pale yellow ribbon, and a black box with three brown panels studded with pearls around silver keyholes. Two pewter gray vessels are visible just beyond it, in front of a second chair, which faces us. On the putty-gray wall behind the woman, a framed painting hangs in the upper left quadrant of the composition. The painting-within-the painting is done in muted tones of brown and shows a cello and other unidentifiable objects.

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This horizontal painting shows a group of eight light-skinned musicians and onlookers gathered closely around a rectangular, carpet-covered table. The front edge of the table runs parallel to the bottom edge of the painting, and seems close to us. Shown from about the waist up, the men and women’s vivid lapis-blue, coral-red, buttercup-yellow, lilac-purple, and moss-green garments fall in crisp folds. Bright reflections on the fabric suggest a satin-like material. Two women wear feathers in their hair and one man’s hat is plumed. One man, wearing crimson red and black, sits with his back to us to our left on the near side of the table. He holds the neck of a bass viol, about the size of a cello, with his left hand, and points to pages of an open music book with the bow in his right hand. The other people cluster on the far side of the table. A man to the left plays a violin; a woman at the center plays a guitar-sized bandora, and a woman to our right plays a lute. The musicians, along with a man who leans over the table from between the two women, look down at the music books. A young man behind the woman at the center holds up a glass of pale liquid with his right hand as he touches his left forefinger to his smiling lips. A man and woman stand close together in the background to our right, in the top right corner of the canvas.

Scholarly Series:  Dutch Paintings of the Seventeenth Century

Shown from the elbows up, a young person with pale skin and brown hair wearing a wide, scarlet-red hat sits in front of a tapestry in this vertical portrait painting. She sits with her body facing our right in profile but she turns her face to look at or toward us with dark eyes. She has a rounded nose, rather flat cheeks, and a sliver of teeth is visible through parted coral-pink lips. The wide brim of the red hat seems to be made of a soft, almost feathery material, and it casts a shadow across her face. She wears a high-collared white garment that catches the light, a royal-blue, possibly velvet, robe or overcoat, and large, teardrop pearl earrings. Her arm runs along the bottom edge of the panel in front of two carved, wooden lion finials that could be the arm or back of the chair. The tapestry behind her is painted in tones of pale caramel brown and pine green. The painting has a soft, hazy look, and light glints with bright white specks off the pearl earrings, the tip of her nose, her lips, and the lion finials.

Scholarly Article:  Dutch Paintings of the Seventeenth Century: Girl with the Red Hat, c. 1669

Artwork history & notes

Provenance

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. Dissius [1653-1695], Delft; (sale, Amsterdam, 16 May 1696, probably no. 39 or 40).[2] Lafontaine collection, Paris; (his sale, Hôtel de Bouillon, Paris, 10-12 December 1822 [postponed from 27-29 November], no. 28). 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. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.
[1] Perhaps the Girl with the Red Hat was one of the tronien listed in the April 1683 inventory of possessions accruing to Jacob Dissius after the death of his wife, Magdalena van Ruijven, on 16 June 1682. See John Michael Montias, Vermeer and His Milieu: A Web of Social History, Princeton, 1989: 359, doc. 417.
[2] John Michael Montias, Vermeer and His Milieu: A Web of Social History, Princeton, 1989: 363-364, doc. 439. Item no. 38 in the sale is described as "a tronie in antique dress, uncommonly artful"; item no. 39 as "Another ditto Vermeer"; and item no. 40 as "A pendant of the same."
[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). Roulier suggests that Baron L.M.B. Atthalin might have purchased the painting at the 1822 sale, while his mother related to mutual friends of hers and J. Carter Brown that the baron bought the painting after seeing it in a shop window (letter, 28 June 1977, Brown to Mme Denise Kagan Moyseur, copy in NGA curatorial files).

Associated Names

Exhibition History

1925

  • Loan Exhibition of Dutch Masters of the Seventeenth Century, M. Knoedler & Co., New York, 1925, no. 1.

1927

  • [Loan exhibition for the opening of the new building], Fogg Art Museum, Cambridge, 1927, no catalogue.

1928

  • A Loan Exhibition of Twelve Masterpieces of Painting, M. Knoedler & Co., New York, 1928, no. 12.

1995

  • Johannes Vermeer, National Gallery of Art, Washington, D.C.; Royal Cabinet of Paintings Mauritshuis, The Hague, 1995-1996, no. 14, repro.

1998

  • A Collector's Cabinet, National Gallery of Art, Washington, D.C., 1998, no. 60.

1999

  • Johannes Vermeer: The Art of Painting, National Gallery of Art, Washington, D.C., 1999-2000, brochure, fig. 11.

2001

  • Vermeer and the Delft School, The Metropolitan Museum of Art, New York; The National Gallery, London, 2001, no. 74, repro.

2003

  • Vermeer y el interior holandés, Museo Nacional del Prado, Madrid, 2003, no. 37, repro.

2012

  • Vermeer: Il secolo d'oro dell'arte olandese, Scuderie del Quirinale, Rome, 2012-2013, no. 49, repro.

2014

  • Small Treasures: Rembrandt, Vermeer, Hals, and Their Contemporaries, North Carolina Museum of Art, Raleigh; Birmingham Museum of Art, 2014-2015, no. 43, repro.

2018

  • Making the Difference: Vermeer and Dutch Art, Ueno Royal Museum, Tokyo; Osaka City Museum, 2018-2019, no. 47, repro. (shown only in Tokyo).

Bibliography

1866

  • Thoré, Théophile E. J. (William Bürger). "Van der Meer de Delft." Gazette des Beaux-Arts 21 (October–December 1866): 567, no. 47 (a group of paintings), as Portrait of a Young Man.

1907

  • Hofstede de Groot, Cornelis. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. 8 vols. Translated by Edward G. Hawke. London, 1907-1927: 1(1907):602, no. 46a.

1913

  • Hale, Philip L. Jan Vermeer of Delft. Boston, 1913: 359.

1925

  • M. Knoedler & Co. Loan Exhibition of Dutch Masters of the Seventeenth Century. Exh. cat. M. Knoedler & Co., New York, 1925: no. 1.

  • Barker, Virgil. "A Trans-Atlantic Chronicle—No. 1." Arts 8 (October 1925 ): 222-227, repro.

  • Borenius, Tancred. "Aus der Sammlerwelt und vom Kunsthandel." Der Cicerone 17, no. 2 (1925): 878.

  • Borenius, Tancred. "The New Vermeer." Apollo 2 (July-December 1925): 125–126, repro.

  • Flint, Ralph. "Rare Dutch Art in a Loan Exhibition." Art News 24 (21 November 1925): 3.

  • G.-S, L. "Two Vermeers are Newly Discovered." Art News 23 (12 September 1925): 1.

  • Grundy, Cecil Reginald. "The Rediscovered Vermeer." _The Connoisseur _ 73 (1925): 116, 119.

  • Lavallée, Pierre. "Un Tableau Inconnu de Vermeer: La Jeune Femme au Chapeau Rouge." La Revue de l’Art 47 (1925): 323–324, repro.

  • Constable, William George. "Review of Hausenstein 'Vermeer of Delft' (Das Bild Atlanten zur Kunst, 10. Munich, 1924)." The Burlington Magazine 47 (November 1925): 269.

1926

  • Kauffmann, Hans. "Overzicht der Litteratuur betreffende Nederlandsche Kunst." Oud Holland 43 (1926): 235–248.

  • Waldmann, Emil. "Ein neues Bild von Jan Vermeer van Delft." Kunst und Künstler 24 (1926): 186–187, repro. 174.

1927

  • Siple, Ella S. "Recent Acquisitions by American Collectors." The Burlington Magazine 51, no. 297 (1927): 303.

  • Perkins, Harley. "Paintings by the Masters Lent for Fogg Opening." Boston Evening Transcript (18 June 1927): book section, 8, repro.

1928

  • "Illustrierte Berichte aus Amerika." Pantheon 1 (May 1928): 269-270, 272, repro.

  • M. Knoedler & Co. A Loan Exhibition of Twelve Masterpieces of Painting. Exh. cat. M. Knoedler & Co, New York, 1928: no. 12, repro.

  • Brière-Misme, Clotilde. "Overzicht der Literatuur betreffende Nederlandsche Kunst." Oud Holland 45 (1928): 90–96.

  • F. "Altmeister ausstellung bei M. Knoedler & Co. in New York." Der Cicerone 20 (1928): 373-374, 376, repro.

  • R. "Neuerwerbungen amerikanischer Sammler." Der Cicerone 20 (1928): 44.

  • "Illustrierte Berichte aus Amerika." Pantheon 2 (October 1928): 521-522.

  • "Amerika: New-York." Pantheon 1 (1928): 270, 272, repro.

1929

  • Lucas, Edward Verrall. Vermeer the Magical. London, 1929: vii-viii, repro.

  • Wilenski, Reginald Howard. An Introduction to Dutch Art. New York, 1929: 284-286.

1931

  • Henkel, M. D. "Overzicht der literatuur betreffende Nederlandsche kunst." _Oud Holland _ 48 (November 1931): 278-288.

1932

  • Valentiner, Wilhelm R. "Zum 300. Geburtstag Jan Vermeers, Oktober 1932: Vermeer und die Meister der Holländischen Genremalerei." Pantheon 5 (October 1932): 305-324.

1933

  • Alexandre, Arsène. "Nouveaux aperçus sur Vermeer." L’Art et les Artistes 27 (February 1933): 145-173, repro.

1935

  • Watson, Forbes. "A World Without Elegance." Parnassus 7 (1935): 3–8, 48, repro.

1937

  • Hale, Philip Leslie. Vermeer. Edited by Frederick W. Coburn and Ralph T. Hale. Boston and New York, 1937: vii, no. 22, 132-133, pl. 22.

  • Jewell, Edward Alden. "Mellon's Gift." Magazine of Art 30, no. 2 (February 1937): 82.

  • Crowninshield, Frank. "The Singular Case of Andrew W. Mellon." Vogue (April 1937): 74-78, 142-143, color repro.

  • Cortissoz, Royal. An Introduction to the Mellon Collection. Boston, 1937: 40.

1939

  • Plietzsch, Eduard. Vermeer van Delft. Munich, 1939: 29, 51, 62, no. 38, pl. 26.

  • Vries, Ary Bob de. Jan Vermeer van Delft. Bibliotheek der Nederlandsche Kunst. Amsterdam, 1939: 48, 89, no. 29, pl. 53.

1940

  • Bloch, Vitale. "Vermeer." Maandblad voor Beeldende Kunsten 17 (1940): 3-8.

  • Goldscheider, Ludwig. The Paintings of Jan Vermeer. Oxford and New York, 1940: 14, pl. 39.

1941

  • Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art., Washington, 1941: 208, no. 53.

  • Held, Julius S. "Masters of Northern Europe, 1430-1660, in the National Gallery." Art News 40, no. 8 (June 1941): 15, repro.

1942

  • Mir, M. Jan Vermeer de Delft. Biblioteca argentina de arte. Buenos Aires, 1942: 62, no. 41, repro.

  • Book of Illustrations. National Gallery of Art, Washington, 1942: 240, repro. 33.

1944

  • Encina, Juan de la (Ricardo Gutiérrez Abascal). Las pinturas de la Galería nacional de arte de Washington. Mexico City, 1944: 58, color repro.

1945

  • Wilenski, Reginald Howard. Dutch Painting. Revised ed. London, 1945: 178, 187.

  • Vries, Ary Bob de. Jan Vermeer van Delft. Basel, 1945: 58, 117, no. 29, pl. 54.

1946

  • Blum, André. Vermeer et Thoré-Burger. Geneva, 1946: 195, repro.

1948

  • Bertram, Anthony. Jan Vermeer of Delft. London, 1948: repro. xxxvii.

  • Vries, Ary Bob de. Jan Vermeer van Delft. Translated by Robert Allen. Revised ed. London and New York, 1948: 40, 90, pl. 22.

1949

  • Review of Professor van Thiereu [sic] Jan Vermeer of Delft (London, 1949). In Apollo, (January 1950): 30.

  • National Gallery of Art. Paintings and Sculpture from the Mellon Collection. Washington, 1949 (reprinted 1953 and 1958): 94, repro.

  • Thienen, Frithjof van. Jan Vermeer of Delft. Masters of Painting. New York, 1949: 23, no. 25, repro.

1950

  • Swillens, P. T. A. Johannes Vermeer: Painter of Delft, 1632–1675. Translated by C.M. Breuning-Williamson. Utrecht, 1950: 65, no. G.

  • T., R.S. "Art and Collector Books: Review of Frithjof van Thienen, Jan Vermeer of Delft." Apollo (January 1950): 30.

1952

  • Fierens, Paul. Jan Vermeer de Delft, 1632-1675. Paris, 1952: no. 48, repro.

  • Gowing, Lawrence. Vermeer. London, 1952: 21, 55-56, 145-147, no. xxvii, pl. 57.

  • Malraux, André, ed. Vermeer de Delft. Paris, 1952: 21-22, repro. (detail), 94, 96, no. xxvii, 104, color repro.

  • Cairns, Huntington, and John Walker, eds., Great Paintings from the National Gallery of Art. Translated. New York, 1952: 102, color repro.

1954

  • Bloch, Vitale. Tutta la Pittura di Vermeer di Delft. Milan, 1954: 27-28, 35, pl. 56.

1956

  • Walker, John. National Gallery of Art, Washington. New York, 1956: 10, repro.

1958

  • Henno, Louis, and Jean Decoen. Vermeer de Delft: une affaire scandaleuse de vrais et de faux tableaux. Lecahier des arts. Bruxelles, 1958: 32.

1960

  • Baird, Thomas P. Dutch Painting in the National Gallery of Art. Ten Schools of Painting in the National Gallery of Art 7. Washington, 1960: 38, 39, color repro.

1961

  • Greindl, Edith. Jan Vermeer, 1632-1675. Milan, 1961: 38, color repro.

  • Reitlinger, Gerald. The Rise and Fall of Picture Prices 1760-1960. (Vol. 1 of The Economics of Taste). London, 1961: 484.

1962

  • Brion, Marcel. Vermeer. London, 1962: 55, color repro., 61.

  • Gowing, Lawrence. Jan Vermeer. New York, 1962: 65, 76, color repro.

1963

  • Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 315, repro., 346.

  • Bloch, Vitale. All the Paintings of Jan Vermeer. Translated by Michael Kitson. The Complete Library of World Art 15. New York, 1963: 27-28, 35, pl. 56.

1964

  • Seymour, Charles, Jr. "Dark Chamber and Light-Filled Room: Vermeer and the Camera Obscura." Art Bulletin 46, no. 3 (September, 1964): 323-331.

1965

  • National Gallery of Art. Summary Catalogue of European Paintings and Sculpture. Washington, 1965: 135.

1966

  • Descargues, Pierre. Vermeer. Translated by James Emmons. Geneva, 1966: 132-133, color repro. 103.

  • Rosenberg, Jakob, Seymour Slive, and Engelbert H. ter Kuile. Dutch Art and Architecture: 1600–1800. Pelican History of Art. Baltimore, 1966: 122.

  • Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 2: 260, color repro., as The Girl with a Red Hat.

  • Emiliani, Andrea. Vermeer (1632-1675). Milan, 1966: 9, 30, 31 pl. 11.

1967

  • Bianconi, Piero. The Complete Paintings of Vermeer. New York, 1967: 84, repro., 94-95, no. 32, color pl. xl.

  • Koningsberger, Hans. The World of Vermeer 1632-1675. New York, 1967: 142-143, repro.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 122, repro.

  • Kühn, Hermann. "A Study of the Pigments and the Grounds Used by Jan Vermeer." Report and Studies in the History of Art_ 2 (1968-1969): 195, no. 21.

  • Gandolfo, Giampaolo et al. National Gallery of Art, Washington. Great Museums of the World. New York, 1968: 137-138, color repro.

1969

  • Mittelstädt, Kuno. Jan Vermeer van Delft. Welt der Kunst. Berlin, 1969: 15, 44, color repro.

1970

  • Walicki, Michal. Jan Vermeer van Delft. Dresden, 1970: 39-40, 125, fig. 56.

1973

  • Mistler, Jean. Vermeer. Collection Le Peintre et l’Homme. Paris, 1973: 45-46, no. 29, color repro.

  • Sonnenburg, Hubertus von. "Technical Comments." Bulletin of the Metropolitan Museum of Art 31, no. 4 (Summer 1973): unpaginated, figs. 93 and 94 (details).

  • Walsh, John, Jr. "Vermeer." _Bulletin of the Metropolitan Museum of Art _ 31, no. 4 (Summer 1973): unpaginated, figs. 37 and 38 (details).

  • Fahy, Everett, and Francis John Bagott Watson. The Wrightsman Collection. Vol. 5: Paintings, drawings, sculpture. New York, 1973: 313-314, repro.

1974

  • Grimme, Ernst Günther. Jan Vermeer van Delft. Cologne, 1974: 61, no. 21, fig. 13.

1975

  • Blankert, Albert. Johannes Vermeer van Delft, 1632-1675. Utrecht, 1975: 108-110, 167-168, 202, repro.

  • National Gallery of Art. European paintings: An Illustrated Summary Catalogue. Washington, 1975: 362, repro.

  • Walker, John. National Gallery of Art, Washington. New York, 1975: 304, no. 407, repro.

1976

  • Wright, Christopher. Vermeer. London, 1976: 12, 46, repro. no. 20, 78, 81, 84-85.

1977

  • Wheelock, Arthur K., Jr. Perspective, Optics, and Delft Artists around 1650. Outstanding dissertations in the fine arts. New York, 1977: 292, 298, repro. 99.

1978

  • Wheelock, Arthur K., Jr. "Zur Technik zweier Bilder, die Vermeer zugeschrieben sind." Maltechnik-Restauro 84 (1978): 242-257, repros.

  • Blankert, Albert. Vermeer of Delft: Complete Edition of the Paintings. Oxford, 1978: 73-74, 172, cat. B.3, color repro.

1981

  • Slatkes, Leonard J. Vermeer and His Contemporaries. New York, 1981: 97, color repro.

  • Wheelock, Arthur K., Jr. Jan Vermeer. New York, 1981: 39, 47, 130, color pl. 34, 132, 144, 156, 162 nn. 93-96.

1983

  • Wheelock, Arthur K., Jr. "Northern Baroque." In Encyclopedia of World Art 17 vols. Bernard S. Myers, ed. Palatine, Illinois, 1983: 16 (supplement):198, pl. 45, color repro.

1984

  • Pops, Martin. Vermeer: Consciousness and the Chamber of Being. Studies in the Fine Arts. Ann Arbor, 1984: 68, repro. 69, 71, 76, 96, 99, 103.

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 304, no. 402, color repro.

  • Rosenberg, Jakob, Seymour Slive, and Engelbert H. ter Kuile. Dutch Art and Architecture. The Pelican History of Art. Revised ed. Harmondsworth, 1984: 122.

1985

  • Brentjens, Yvonne. "Twee meisjes van Vermeer in Washington." _Tableau _ 7 (February 1985): 54-58, repro.

  • National Gallery of Art. European Paintings: An Illustrated Catalogue. Washington, 1985: 420, repro.

  • Pelfrey, Robert H., and Mary Hall-Pelfrey. Art and Mass Media. New York, 1985: fig. 8.

1986

  • Aillaud, Gilles, Albert Blankert, and John Michael Montias. Vermeer. Paris, 1986: 200, 201, cat. b3, repro.

  • Sutton, Peter C. A Guide to Dutch Art in America. Washington and Grand Rapids, 1986: 311-312.

1988

  • Wheelock, Arthur K., Jr. "The Art Historian in the Laboratory: Examinations into the History, Preservation, and Techniques of 17th Century Dutch Painting." In The Age of Rembrandt : studies in seventeenth-century Dutch painting. Papers in art history from the Pennsylvania State University 3. Edited by Roland E. Fleischer and Susan Scott Munshower. University Park, PA, 1988: 220, 239 fig. 9-22, 240 fig. 9-23 (X-ray), 241 fig. 9-24 (infrared photo).

1989

  • Montias, John Michael. Vermeer and His Milieu: A Web of Social History. Princeton, 1989: 265-266.

1990

  • Liedtke, Walter A. "Dutch Paintings in America: The Collectors and their Ideals." In Great Dutch Paintings from America. Edited by Ben P.J. Broos. Exh. cat. Royal Picture Gallery Mauritshuis, The Hague; Fine Arts Museums of San Francisco. Zwolle, 1990: 51.

  • Liedtke, Walter A. "Dutch Paintings in America: The Collectors and their Ideals." In Great Dutch Paintings from America. Edited by Ben P.J. Broos. Exh. cat. Royal Picture Gallery Mauritshuis, The Hague; Fine Arts Museums of San Francisco. The Hague and Zwolle, 1990: 51.

1991

  • Kopper, Philip. America's National Gallery of Art: A Gift to the Nation. New York, 1991: 63, 67, color repro.

1992

  • Grèce, Michel de. Portrait et séduction. Paris, 1992: 145, repro.

1993

  • Schneider, Norbert. Jan Vermeer 1632-1675: Verhüllung der Gefühle. Cologne, 1993: 72, 95, no. 73, repro.

1994

  • Knafou, Rémy. Vermeer: mystère du quotidien. Paris, 1994: 9, repro.

1995

  • Wheelock, Arthur K., Jr., and Ben P. J. Broos. Johannes Vermeer. Edited by Arthur K. Wheelock, Jr. Exh. cat. National Gallery of Art, Washington; Royal Picture Gallery Mauritshuis, The Hague. Zwolle, 1995: no. 14, repro.

  • Wheelock, Arthur K., Jr. Vermeer and the Art of Painting. New Haven, 1995: 119, 120 color fig. 84, 121-127, detail and conservation figs. 85, 87, 88, 89a, 89b, no. A23, repro. 180.

  • Wheelock, Arthur K., Jr. Dutch Paintings of the Seventeenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1995: 382-387, color repro. 383.

  • Bailey, Martin. Vermeer. London, 1995: 88-89, color repro.

  • Wright, Christopher. Vermeer: catalogue raisonné. London, 1995: no. 21, 42-44, color repro.

1996

  • Larsen, Erik. Jan Vermeer. Translated by Tania Gargiulo. Biblioteca d'arte. Florence, 1996: no. A 7, 119, repro.

  • Netta, Irene. Das Phänomen Zeit bei Jan Vermeer van Delft: eine Analyse der innerbildlichen Zeitstrukturen seiner ein- und mehrfigurigen Interieurbilder. Studien zur Kunstgeschichte 105. Hildesheim, 1996: 251, fig. 17.

  • Chalumeau, Jean Luc. Vermeer, 1632-1675. Découvrons l'art - XVIIe siècle 1. Paris, 1996: no.16, repro.

1997

  • Robinson, James. "Vermeer." Classical Realism Journal 3, no. 2 (1997): 4, 13 fig. 1.

  • Wheelock, Arthur K., Jr. Vermeer: The Complete Works. New York, 1997: 50-51, no. 23, repro.

  • Gowing, Lawrence. Vermeer. 3rd ed. London, 1997: no. 57, 145-147, repro.

1998

  • McLellan, Diana. "Really Big Shows." Washingtonian 33, no. 11 (August 1998): 70.

  • Gifford, Melanie E. "Painting Light: Recent Observations on Vermeer's Technique." In Vermeer Studies. Edited by Ivan Gaskell and Michiel Jonker. Studies in the History of Art 55 (1998): 185-199, fig. 3.

  • Wheelock, Arthur K., Jr. A Collector's Cabinet. Exh. cat. National Gallery of Art, Washington, 1998: 68, no. 60.

  • Robinson, James. "Vermeer, Part III." Classical Realism Journal 4, no. 2 (1998): 58-67, repro. back cover.

  • Montias, John Michael. "Recent archival research on Vermeer." in Vermeer Studies. Edited by Ivan Gaskell and Michiel Jonker. Studies in the History of Art 55. Washington, 1998: 185-199.

1999

  • Zuffi, Stefano and Francesca Castria, La peinture baroque. Translated by Silvia Bonucci and Claude Sophie Mazéas. Paris, 1999: 208, color repro.

  • Sweet, Christopher. The Essential Johannes Vermeer. New York, 1999: 80-81, repro.

  • Wheelock, Arthur K., Jr., and Mari Griffith. Johannes Vermeer: The Art of Painting. Exhibition brochure. National Gallery of Art, Washington, 1999: fig. 11.

2000

  • Wheelock, Arthur K., Jr. The Public and the Private in the Age of Vermeer. Exh. cat. Osaka Municipal Museum of Art. London, 2000: 202, no. 21, repro.

2001

  • Franits, Wayne E., ed. The Cambridge companion to Vermeer. Cambridge, England, and New York, 2001: 163, 172, 173, 180, pl. 22.

  • Liedtke, Walter A., Michiel Plomp, and Axel Rüger. Vermeer and the Delft school. Exh. cat. Metropolitan Museum of Art, New York; National Gallery, London. New Haven, 2001: no. 74, 386-389, repro.

  • Steadman, Philip. Vermeer's camera: uncovering the truth behind the masterpieces. Oxford, 2001: 160-161, repro.

  • Netta, Irene. Vermeer's world: an artist and his town. Pegasus Library. Munich and New York, 2001: 33, 86, repro.

  • Southgate, M. Therese. The Art of JAMA II: Covers and Essays from The Journal of the American Medical Association. Chicago, 2001: 56-57, color repro.

2002

  • Bailey, Anthony. Vermeer. Translated by Bettina Blumenberg. Berlin, 2002: color repro. between 160 and 161.

2003

  • Huerta, Robert D. Giants of Delft: Johannes Vermeer and the natural philosophers: the parallel search for knowledge during the age of discovery. Lewisburg, 2003: 45, 46, repro., 49, 51, 99, 102,103.

  • Vergara, Alejandro. Vermeer y el interior holandés. Exh. cat. Museo nacional del Prado, Madrid, 2003: 176-177, 255-256, color repro.

2004

  • Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 208-209, no. 164, color repro.

2005

  • Fahy, Everett, ed. The Wrightsman Pictures. New Haven, 2005: 134-135, under cat. 37, fig. 4.

  • Wright, Christopher. Vermeer. Revised ed. London, 2005: 50-52, color repro.

  • Huerta, Robert D. Vermeer and Plato: painting the ideal. Lewisburg, 2005: 42-43, repro.

2008

  • Lopez, Jonathan. The man who made Vermeers: unvarnishing the legend of master forger Han van Meegeren. Orlando, 2008: 53, 55, 104, 175.

  • Dolnick, Edward. The Forger’s Spell: A True Story of Vermeer, Nazis, and the Greatest Art Hoax of the Twentieth Century. New York, 2008: 107, 134.

  • Liedtke, Walter A. Vermeer: the complete paintings. Ghent, 2008: no. 24, 136-139, color repro.

2010

  • Wheelock, Arthur K., Jr. "Die Malkunst." In Vermeer, die Malkunst: Spurensicherung an einem Meisterwerk = Vermeer, the Art of Painting: Scrutiny of a Picture. Edited by Sabine Haag, Elke Oberthaler and Sabine Pénot. Catalog in German, essays also translated into English. Exh. cat. Kunsthistorisches Museum, Vienna, 2010: 32-33 (German), fig. 6, 268 (English).

2011

  • Henderson, Jasper and Victor Schiferli. Vermeer: The Life and Work of a Master. Amsterdam, 2011: 56-57, color ill.

2012

  • Percival, Melissa. Fragonard and the Fantasy Figure: Painting the Imagination. Burlington, Vt., 2012: 58, fig. 2.7.

  • Tummers, Anna. The Eye of the Connoisseur: Authenticating Paintings by Rembrandt and His Contemporaries. Amsterdam, 2012: 28, 29, 30, color fig. 9.

  • Humphries, Oscar, ed. “Listings: Agenda, 7.” Apollo 176, no. 602 (October 2012): 25, color repro.

  • Wheelock, Arthur K., Jr., Walter A. Liedtke, and Sandrina Bandera Bistoletti. Vermeer: il secolo d'oro dell'arte olandese. Exh. cat. Scuderie del Quirinale, Rome. Milan, 2012: no. 49, 216-217, color repro.

2014

  • Krempel, León. "Allegorische Tronie-Paare bei Johannes Vermeer." in Tronies: das Gesicht in der frühen Neuzeit. Edited by Dagmar Hirschfelder and León Krempel. Berlin, 2014: 97-107, 112, 122, color pl. 9, as "Ecclesia."

2016

  • Smith, Dominic. The Last Painting of Sarah de Vos. New York, 2016: 219.

2020

  • Wheelock, Arthur K., Jr. Clouds, ice, and Bounty: The Lee and Juliet Folger Collection of Seventeenth-Century Dutch and Flemish Paintings. Exh. cat. National Gallery of Art, Washington, D.C., 2020: 18, fig. 1, 19.

2022

  • Georgievska-Shine, Aneta. Vermeer and the Art of Love. London, 2022: 110, 112, color fig. 81.

  • Libby, Alexandra, E. Melanie Gifford, Dina Anchin, Marjorie E. Wieseman, Kathryn A. Dooley, Lisha Deming Glinsman, and John K. Delaney. "Experimentation and Innovation in Vermeer’s Girl with the Red Hat: New Findings from the National Gallery of Art." Journal of Historians of Netherlandish Art 14, no. 2 (Summer 2022): figs. 1, 4, 10-15, 18, 19, 21, 23-28, 30, 32, 33, 38, 39, 41, 42, 44, 46, 56, 59, 64, 66.

  • Gifford, E. Melanie, Kathryn A. Dooley, and John K. Delaney. "Methodology & Resources: New Findings from the National Gallery of Art." Journal of Historians of Netherlandish Art. 14, no. 2 (Summer 2022): figs. a, 3, 39, 39-43, 51.

Inscriptions

upper center of tapestry in ligature: IVM

Wikidata ID

Q614047

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