pendant

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  Gabriel Metsu, Briefschrijvende man (pendant)

  

• opschrift midden: Mr / Metsu / töt Amster / Port
  on the envelope held by the maid

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  geïnspireerd op
  Johannes Vermeer, Vrouw gezeten aan een virginaal, met een man
  
  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)
  
  
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  geïnspireerd op
  Johannes Vermeer, Het concert
  
  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, he globally adopted the positioning of a full-lenght seated woman on the left, with a standing woman to her right, and a tiled floor that gives an illusion of depth. (as observed by E. Schavemaker)
  
  
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  geïnspireerd op
  Johannes Vermeer, De melkmeid
  
  Metsu adopted the use of a sunlit corner of a room with a window on the left, the structured white plastered wall, and the color combination of red, yellow and blue. (Waiboer et al. 2017, p. 115)
  
  
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  geïnspireerd op
  Pieter de Hooch, Vrouw, een brief lezend bij het venster
  
  Metsu repeated the subject as well as the use of full-length figures.
  
  
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  geïnspireerd op
  Gerard ter Borch (II), Interieur met een briefschrijvende officier en een bode
  
  Metsu adopted the theme of writing a letter. He depicted a thimble on the floor to hint at the woman's eagerness to open the letter, similar to the ace of hearts on the floor as a reference to the emotional condition of the man writing the letter in Ter Borch's painting. (Waiboer et al. 2017, p. 121)
  
  
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  geïnspireerd op
  Gerard ter Borch (II), Interieur met een vrouw die een brief verzegelt en een dienstmeid
  
  Metsu adopted the subject of the seated woman with a letter and a waiting servant girl with a market bucket, as well as the use of full-length figures. (Waiboer 2012, p. 125)
  
  
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  als voorbeeld gebruikt voor
  Johannes Vermeer, De liefdesbrief
  
  Vermeer adopted the main motif of a seated woman who just received a letter from a maidservant, elements of the dress of both figures (especially the dress of the maid, which is identical), the use of full-length figures, motifs such as the marine painting on the wall in the background, the wicker basket with needlework, the shoe. (Waiboer 2012, p. 124-125)