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Johannes Vermeer

Woman at the Virginal with a Gentleman, ca. 1662-1665
Great Britain, The Royal Collection, inv./cat.nr. [..]
<a class="recordlink artists" href="/explore/artists/80476" title="Johannes Vermeer"><span class="text">Johannes Vermeer</span></a>
Illustration number 1001089185
Dimensions: 4440x5089 pixels
License under PUB DOM
<a class="recordlink artists" href="/explore/artists/80476" title="Johannes Vermeer"><span class="text">Johannes Vermeer</span></a>
Illustration number 0000210393
Dimensions: 2791x3151 pixels
License undetermined
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Object information
Object category
painting
Support/medium
canvas, oil paint
Shape/dimensions
rectangle (portrait format) 73.5 x 64.2 cm
Signature/inscription
Information about the signature, dating, inscription or any other mark on the front or back of the art work
Current attribution
Johannes Vermeer
Date
Exact or approximate dating of the described art work; the search parameters adopted for this art work in this database, are found in brackets.
c. 1662-1665 (1662 - 1665)
c. 1662-1664 (Wheelock 1997); c. 1662-1663 (Liedtke 2008); c. 1662-1665 (Franits 2015)
Artistically related
Artistically related to other work
Such as a preparatory studie, comparable composition, other version, or copy of the artwork in this record.
  • inspired by
    Frans van Mieris (I), De stoffenwinkel
    Vermeer adopted the spatial arrangement, as well as the positioning of a carpeted table in the right foreground. (Plietzsch 1939, p. 41)

  • inspired by
    Gerard ter Borch (II), Interieur met een man en twee vrouwen
    Vermeer adopted the idea of depicting a woman as seen from behind, ignoring the fixed gaze of her suitor. (Waiboer et al. 2017, p. 134)

  • inspired by
    Frans van Mieris (I), Vrouw aan een klavecimbel
    Vermeer adopted the subject of a woman standing at a keyboard instrument in the company of a man, elements of the interior such as the light-plastered walls adorned with a painting in a black frame and the chair upholstered with blue velvet, the blue and red accents in the color palette and the motif of a refreshment (a glass brought by a servant in Van Mieris' and a jug in Vermeer’s painting standing ready on the table). (Waiboer et al. 2017, p. 134)

  • used as model for
    Gabriel Metsu, Brieflezende vrouw en een dienstmeid in een interieur
    Metsu adopted the lighting, the interior with a white plastered back wall that runs parallel to the picture plane, from which paintings and mirrors in dark frames are hung, the idea to position the figures against the back wall, the tiled floor that gives an illusion of depth, and the combination of yellow, red and blue. (Waiboer et al. 2017, p. 115)

  • used as model for
    Pieter de Hooch, Musicerend gezelschap in een interieur
    De Hooch adopted the subject of a man and woman at a virginal, the use of full-length figures, the tiled floor and the idea to position the protagonists deep into the space of the room and the motif of a woman playing the virginal, seen on the back. (as observed by A. Waiboer)

  • used as model for
    Gabriel Metsu, Vrouw aan het virginaal
    Metsu adopted the motif of a woman seen from behind, standing at a virginal with her head overlapping the black painted edge of the instrument’s lid and the use of full-length figures. (as observed by A. Waiboer)

  • used as model for
    Emanuel de Witte, Interieur met een vrouw aan een virginaal, links luistert een officier toe in bed
    De Witte adopted the subject of a female repoussoir figure at a virginal in the company of a man, the idea to depict the woman from behind, the mirror above the instrument on the wall, the positioning of the woman deep within the space of the interior at a distance from the beholder, the use of full-length figures, the floor with black and white tiles, the motif of a table at the right with a white jug upon it and the wall with windows. (Waiboer 2009, p. 52)

  • used as model for
    Cornelis de Man, Interieur waarin drie mannen rond een tafel zitten met een globe
    De Man repeated the motif of a mirror on the back wall, ingeniously reflecting the protagonists. (Waiboer 2010, p. 56)

  • used as model for
    Gabriel Metsu, Man en vrouw zittend bij een virginaal
    Metsu adopted the subject of a musical company consisting of a man and a woman, in particular the motif of a woman at a virginal and her suitor, the motif of the virginal standing against the back wall parallel to the picture plane, the checkered floor with black and white tiles, the table with a Persian rug in the right foreground, the presence of a painting in a black frame on the back wall, the use of full-length figures and elements of the palette such as the red, blue, white and black accents. (Waiboer 2012, p. 120-121)

  • used as model for
    Pieter de Hooch, Elegant gezelschap met een vrouw aan een virginaal in een voornaam interieur
    De Hooch adopted the main motif of a couple at a virginal with a woman seen from behind, the setting showing a corner of a room with windows at the left, the tiled stone floor, the painting in a black frame on the wall, the use of full-length figures and the idea to position the protagonists further backwards in the room near the back wall. (as observed by E. Schavemaker)

  • used as model for
    Jacob Ochtervelt, Interieur met musicerend paar
    Ochtervelt adopted the subject of a couple making music, the motif of a table in the foreground covered with a Persian rug also covering part of the floor, the use of full-length figures, the positioning of the protagonists further back into the space of the room, the floor with black and white tiles, the palette with the predominantly red, yellow and blue as well as the motif of the white jug. (as observed by E. Schavemaker)

  • used as model for
    Jacob Ochtervelt, Virginaal spelende vrouw, een zingende vrouw en een vioolspelende man in een interieur
    Ochtervelt adopted the subject of a company making music, the type of interior with light-plastered walls, the use of full-length figures, the positioning of the protagonists close to the back wall at some distance from the viewer, the motif of the standing woman seen from behind playing the virginal and the rectangular forms on the back wall balancing the composition. (Kuretsky 1979, p. 28)

  • used as model for
    Cornelis de Man, Musicerend paar
    De Man adopted the subject of a couple making music, the use of full-length figures, the motif of a woman playing a keyboard instrument, the mirror on the wall parallel to the picture plane reflecting one of the protagonists as well as the tiled floor. (as observed by A. Waiboer)

Provenance
Exhibitions and literature
Visual documentation
Technical documentation
The RKD manages a collection of technical documentation that has been given to us by external researchers and museums or which stems from the RKD's own research with infrared reflectography. Documentation can be accessed by appointment at the RKD. While not all technical documentation has been entered in the database at present, new data is added on a regular basis.
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Creation date: 2010-11-29; Last modified date: 2022-08-04

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