315:, its team of conservators, curators, and scientists examined the painting using microscopic pigment analysis and advanced imaging technology, and concluded that the work was not painted by Vermeer, and that as of October 8, 2022, the gallery would change the attribution of the painting to "Studio of Johannes Vermeer". There had been suspicions in the past that Vermeer may have begun the piece but another artist finished the work; however the National Gallery of Art's team of curators, art historians, conservators, research conservators, research scientists, and imaging scientists concluded, based on the "fatal flaws" in execution they discovered in every layer and every stage of the painting, that Vermeer had no involvement in painting any of it.
335:, Benjamin Binstock made an extensive case that Vermeer's eldest child Maria (born 1654) is the author of this and several other "misfit" Vermeer paintings. The National Gallery of Art's 2022 report noted that "While it is conceivable that Maria received instruction from her father and produced paintings in his manner while still in her late teens, prior to her marriage in 1674, the absence of proof to the contrary does not constitute support for Binstock's provocative suggestion."
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strongly lit and shaded face. Those features were greatly weakened and the necklace was left much thinner with a small break in the first restoration. In the second, ahead of the previous travelling
Vermeer blockbuster exhibitions of 1995-96, published photographs showed that all the features were further weakened and the necklace had lost its central section. After that cleaning, the remains of the necklace were almost, but not entirely, painted out by the restorer.
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restorer also painted out an earlier striped disfigurement on the sitter’s left cheek, which action left the lit side of the face flatter and less tonally modulated than in 1941. When exhibited in a major
Vermeer anniversary exhibition, no Vermeer scholar commented on its cumulative losses and alterations. The two dark stripes on the right-hand, lit side of the hat ... have disappeared.
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has now mostly disappeared, leaving visible only the reddish-brown underpaint. Nevertheless, the restoration and related technical examinations have provided a fuller understanding of both the complex compositional alterations and the sequence of paint layers that comprise this image, information essential for any informed judgment of attribution.
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In the first ... a great loss of material and shading occurred; an eyebrow disappeared; and the necklace was substantially thinned. After the next cleaning ... the restorer lost the central section of the necklace and painted-out the surviving remnant on the right to minimise the glaring injury. The
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Although the discolored varnish and old repaint that distorted the image were removed during the painting's restoration in 1995, even now extensive abrasion of the paint surface hinders a conclusive assessment of artistic quality. The blue glaze that once covered the back or the chair, for example,
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In response to the
National Gallery of Art's de-attribution announcement, Eric Jan Sluijter, professor of art history emeritus at the University of Amsterdam, argued that although the NGA's research was "hard to dismiss", he did not think they were indisputably right on all details. He noted that
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You report that the paint has now been found (after two restorations by the museum) to be "heavy-handed" in a way that "pooled and almost dripped". Distinct features on the painting were lost or weakened in each restoration. Before the first, the girl had a solid necklace, dark eyebrows and a
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was familiar with
Vermeer’s unique methods and materials, but unable to achieve his level of expertise. They may have been a pupil or apprentice in training, an amateur who paid Vermeer for lessons, a freelance painter hired on a project-by-project basis, or even a member of Vermeer’s
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on art conservation noted, "Within conservation treatments, restoration has proved to have a more damaging effect on material culture if not executed correctly. ... The news of surfaced hundreds of reports of failed restorations such as ... Vermeer's
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ArtWatch first complained of these restorations in 1995 and, in 2001, we published photographs showing the succession of injuries. So far as we know, none of the art historians now squabbling over the attribution have discussed the restoration
397:: "The many dramatic changes evident in paintings cleaned for the Vermeer exhibition at the National Gallery in Washington constitute yet another art restoration debacle. ... Neither the catalogue nor reviews of the exhibition mention that the
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By the 1870s the painting was apparently owned by the van Son family in the
Netherlands, and then by marriage by the van Boxtel family. Subsequent heir Mahie van Boxtel en Liempde married Belgian art collector Jean de Grez (1837–1910).
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Following the death of Jean de Grez, the painting was sold in 1916 to the Dutch collector August
Janssen, who died in 1918. After his death the painting was exhibited publicly for a while and then sold to the New York art dealership
181:, a garment very prevalent in at-home attire for Dutch women of all socioeconomic classes in the 17th century, and commonly found worn by women in domestic genre paintings by mid to late 17th-century Dutch painters such as
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at
Washington's National Gallery of Art ever was a Vermeer, successive picture restorers have made sure that it no longer is so. In 1940, it was judged a Vermeer on its "utmost delicacy of glaze and stipple".
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decided to label the painting as an authentic
Vermeer in the Rijksmuseum's 2023 Vermeer exhibition, the biggest Vermeer exhibition ever with 27 paintings aside from
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The painting is a close-up portrait of a girl, facing front, wearing a widely conical striped hat and a blue-green fur-trimmed jacket, holding a
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The painting's attribution has been questioned since 1942, although prior to 2022 it was generally cautiously attributed to
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1065:"Art Conservation in Cultural Institutions in Puerto Rico and the Virgin Islands: Damage Prevention from Natural Disasters"
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The painting has undergone restorations, which have received critiques from art historians and art conservationists.
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The small 20×18 cm (8×7 inch) artwork is painted on a wood panel, as is the uncontested
Vermeer painting
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In October 2022 the National Gallery of Art announced that while the museum was closed during the
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In 2001, presenting photographs of the painting from 1941, 1958, 1994, and 1995, Daley wrote:
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Some of the modern restorations have received criticism, most vocally from Michael Daley of
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Wieseman, Marjorie E.; Libby, Alexandra; Gifford, E. Melanie; Anchin, Dina (Summer 2022).
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567:"Podcast | Vermeer special: the man, the show and an attribution debate | The Week in Art"
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535:"When is a Vermeer not a Vermeer? Reputations on the line over authenticity of artwork"
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942:"Vermeer at the National Gallery in Washington, DC declared not the real thing"
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In 1906 the painting was discovered at the De Grez Collection in Brussels by
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20 cm × 17.8 cm (7.9 in × 7.0 in)
883:"National Gallery confirms one of its Vermeers is actually not a Vermeer"
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Vermeer's Family Secrets: Genius, Discovery, and the Unknown Apprentice
772:"A Vermeer? It's Actually an Imitator, National Gallery of Art Reveals"
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Vermeer's Family Secrets: Genius, Discovery, and the Unknown Apprentice
347:, and in his view it has similar deviations from Vermeer's technique.
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were produced for the mass market, not for patrons. Unlike typical
748:] (in Dutch). Amsterdam: Uitgeverij Bert Bakker. p. 135.
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1027:"'Spot the Mistakes' – restoration induced changes to Vermeer's
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may have been first owned by the family of Vermeer's patron
468:"Who Is Behind This Vermeer Painting? Probably Not Vermeer"
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The Ghost of Vermeer of Delft Which Can Be Used as a Table
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262:, and it was possibly sold at the 1696 Dissius auction in
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is also painted on wood, it is a similar composition to
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The Art Newspaper - International art news and events
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Gezicht op Delft. Een biografie van Johannes Vermeer
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166:. The background is a tapestry similar to that in
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16:1665–1670 painting attributed to Johannes Vermeer
814:: New Findings from the National Gallery of Art"
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746:View of Delft. A biography of Johannes Vermeer
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318:The National Gallery of Art concluded that
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818:Journal of Historians of Netherlandish Art
700:. Yale University Press. pp. 204–206.
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1039:(14). (reprinted excerpt). Archived from
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159:is slightly larger, 23×18 cm (9×7 inch).
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413:In the spring of 2022, a thesis for the
235:in costume. This was a popular genre in
193:. Similar jackets are worn in Vermeer’s
1288:Girl Reading a Letter at an Open Window
855:"Reconsidering Vermeer's Perfectionism"
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401:has lost four fifths of her necklace."
266:, probably catalogue number 39 or 40.
1217:Christ in the House of Martha and Mary
1673:Isabella Stewart Gardner Museum theft
1496:A Young Woman Seated at the Virginals
999:"Changes of detail in Vermeer's work"
173:The fur-trimmed jacket is known as a
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292:In 1923, the American art collector
1768:Genre paintings by Johannes Vermeer
1464:Lady Writing a Letter with her Maid
1063:Colón, Yulimar Luna (Spring 2022).
997:Daley, Michael (December 8, 1995).
881:Smee, Sebastian (October 7, 2022).
533:Rankin, Jennifer (2 January 2023).
1094:Daley, Michael (January 6, 2023).
940:Bailey, Martin (October 7, 2022).
853:Richard, Diane (October 7, 2022).
769:Small, Zachary (October 7, 2022).
281:, who identified it as a Vermeer.
247:, the models were not identified.
39:disputed attribution; possibly by
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466:Feldman, Ella (11 October 2022).
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425:In January 2023, Daley wrote to
646:"The so-called Dissius auction"
391:. In December 1995 he wrote to
322:The mystery artist who painted
1025:Daley, Michael (Autumn 2001).
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1296:Girl Interrupted at Her Music
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1134:. New York: Harry N. Abrams.
712:"Studio of Johannes Vermeer:
1684:All the Vermeers in New York
1304:The Girl with the Wine Glass
1130:Wheelock, Arthur K. (1997).
98:, a work by Johannes Vermeer
1488:Lady Standing at a Virginal
1368:Woman with a Pearl Necklace
1132:Vermeer: The Complete Works
909:Binstock, Benjamin (2013).
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1763:Musical instruments in art
810:"Vermeer's Studio and the
227:, a study of a remarkable
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1663:Dutch Golden Age painting
1609:Girl with a Pearl Earring
1601:Girl with a Pearl Earring
1593:Girl with a Pearl Earring
1480:Lady Seated at a Virginal
1384:Girl with a Pearl Earring
1264:Officer and Laughing Girl
1096:"How restorations ruined
237:Dutch Golden Age painting
111:) is a small painting by
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1240:Diana and Her Companions
831:10.5092/jhna.2021.14.2.3
740:Bailey, Anthony (2002).
1719:(2013 documentary film)
1653:Delft School (painting)
1648:Antonie van Leeuwenhoek
1392:A Lady Writing a Letter
1336:Woman Holding a Balance
1156:National Gallery of Art
969:"Critical Assessments:
860:National Gallery of Art
689:Young Girl with a Flute
685:Wheelock Jr., Arthur K.
624:National Gallery of Art
509:National Gallery of Art
399:Young Girl with a Flute
298:National Gallery of Art
196:Woman Holding a Balance
132:A Lady Writing a Letter
126:Woman Holding a Balance
117:National Gallery of Art
78:National Gallery of Art
1566:Arthur K. Wheelock Jr.
1541:Théophile Thoré-Bürger
1408:Study of a Young Woman
1352:Woman Reading a Letter
1328:Woman with a Water Jug
1073:University of Delaware
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415:University of Delaware
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376:Arthur K. Wheelock Jr.
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1472:The Allegory of Faith
650:Essential Vermeer 3.0
341:Girl with the Red Hat
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1668:Hockney–Falco thesis
1556:John Michael Montias
1043:on December 17, 2022
977:EssentialVermeer.com
1711:(2008 history book)
1515:Formerly attributed
1424:The Art of Painting
1400:Girl with a Red Hat
168:Girl with a Red Hat
157:Girl with a Red Hat
152:Girl with a Red Hat
138:Girl with a Red Hat
109:Meisje met de fluit
95:Girl with a Red Hat
1692:Writing to Vermeer
1637:Pieter van Ruijven
1031:('Double Whammy')"
778:The New York Times
287:Knoedler & Co.
277:, director of the
260:Pieter van Ruijven
219:Girl with a Flute
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1523:Girl with a Flute
1504:The Guitar Player
1416:Mistress and Maid
1344:Woman with a Lute
1272:The Little Street
1161:Essential Vermeer
1141:978-0-8109-2751-3
1098:Girl With a Flute
1029:Girl with a Flute
971:Girl with a Flute
947:The Art Newspaper
812:Girl with a Flute
755:978-90-351-2402-8
714:Girl with a Flute
614:Girl with a Flute
502:Girl with a Flute
437:Girl With a Flute
420:Girl with a Flute
370:In his 1995 book
357:Girl with a Flute
345:Girl with a Flute
331:In his 2013 book
324:Girl with a Flute
313:COVID-19 pandemic
294:Joseph E. Widener
256:Girl with a Flute
229:facial expression
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372:Johannes Vermeer
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121:Washington, D.C.
113:Johannes Vermeer
82:Washington, D.C.
41:Johannes Vermeer
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1700:Chasing Vermeer
1633:Maria de Knuijt
1629:(mother-in-law)
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1459:(c. 1669–1670)
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1451:(c. 1669–1670)
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1443:(c. 1668–1669)
1440:The Geographer
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1432:The Astronomer
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1411:(c. 1665–1667)
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1312:The Wine Glass
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1307:(c. 1659–1660)
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1299:(c. 1658–1659)
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1232:Saint Praxedis
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1109:. Retrieved
1105:The Guardian
1103:
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1079:February 28,
1077:. Retrieved
1075:. p. 31
1068:
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1047:February 28,
1045:. Retrieved
1041:the original
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1010:February 16,
1008:. Retrieved
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951:. Retrieved
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892:. Retrieved
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864:. Retrieved
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573:. 2023-02-10
570:
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540:The Guardian
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513:. Retrieved
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60:Oil on panel
51:c. 1669–1675
1687:(1990 film)
1627:Maria Thins
1612:(2008 play)
1604:(2003 film)
1534:Scholarship
1360:The Concert
1225: 1655
1036:ArtWatch UK
824:(2): 1–41.
515:10 February
479:10 February
473:Smithsonian
389:ArtWatch UK
349:Rijksmuseum
304:Attribution
289:in 1921.
279:Mauritshuis
209:is worn in
202:The Concert
145:Description
1747:Categories
1576:Portrayals
784:October 7,
656:October 7,
577:2023-02-13
453:References
66:Dimensions
1639:(patrons)
1507:(c. 1672)
1435:(c. 1668)
1419:(c. 1667)
1395:(c. 1665)
1387:(c. 1665)
1371:(c. 1664)
1363:(c. 1664)
1355:(c. 1663)
1315:(c. 1660)
1267:(c. 1657)
1259:(c. 1657)
1235:(c. 1655)
1204:Paintings
1004:The Times
917:Routledge
840:253667358
687:(1995). "
546:5 January
448:injuries.
431:stating:
394:The Times
300:in 1942.
264:Amsterdam
251:Ownership
245:portraits
179:manteltje
1734:Category
1111:March 1,
725:March 8,
630:March 8,
351:curator
107:(Dutch:
74:Location
1620:Related
720:PubHist
378:wrote:
327:family.
241:Tronies
1658:Tronie
1251:(1656)
1138:
923:
838:
752:
652:. 2021
224:tronie
189:, and
135:, and
56:Medium
36:Artist
836:S2CID
744:[
698:(PDF)
619:(PDF)
231:or a
221:is a
1635:and
1136:ISBN
1113:2023
1081:2023
1049:2023
1012:2023
984:2023
955:2023
921:ISBN
896:2023
868:2023
786:2022
750:ISBN
727:2023
658:2022
632:2023
548:2023
517:2023
481:2023
199:and
48:Year
826:doi
691:".
435:If
422:."
207:yak
177:or
175:jak
170:.
119:in
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