Vermeer and the Baroque Era

 

Girl Reading a Letter at an Open Window by Johannes Vermeer (1657-1659)

Background

Johannes Vermeer (1632-1675) was a Dutch painter from Delft, Netherlands during the Baroque era and the Dutch Golden Age. Today, he is one of the most recognizable artists of the period, his most famous painting being The Girl with the Pearl Earring. Despite being a popular artist in his hometown of Delft during his lifetime, he never saw the level of fame that he receives today. It was nearly two hundred years after his death that his work gained worldwide recognition. Currently, there are thirty-four known paintings that are credited to Vermeer, possibly six missing works (Boone), and an additional three that could be Vermeer’s (Janson, “Complete Vermeer”).

Vermeer was introduced to art through his father’s business dealing paintings, which Vermeer inherited along with his debt after his father’s death. While he was raised Protestant, he converted to Catholicism just before his marriage, to appease his mother-in-law. He and his wife moved into her house which was a nearby hidden Jesuit church, which those of the Catholic faith would secretly worship during the Reformation. Religion and mythology were depicted in two of his known works, but in the 1650s, he started to paint genre scenes and tonies with a touch of still-lifes. (Birch)

Much is not known about Vermeer’s education or if he studied under any particular artist, but there are references to other works throughout his paintings that he might have been influenced by. However, Vermeer has a similar style to Pieter de Hooch, another well-known painter in Delft during that time. They both paint interior scenes depicting domestic life and natural light. There is debate on who inspired who, but I think they must have shared a mutual admiration and encouraged each other to develop their styles. An example of this shared appreciation is seen in de Hooch’s version of Girl Reading a Letter at an Open Window. Vermeer was a part of the Delft’s Guild of Saint Luke, which expanded his connections in the Delft’s art world with patrons and other artists. (Wheelock)

Vermeer's work shows evidence of his use of camera obscura; a tool that reflects perceived images, creating a stronger contrast between light and shadows (Janson, “Camera Obscura: Part I”). However, there is much debate on the subject due to no explicit saying that Vermeer utilized the tool. The most obvious evidence lies in how reflections are painted, the incredible detailing on maps, and the size of the people in comparison to each other (Janson, “Camera Obscura: Part II”). Based on research and numerous studies over the years on geometry and perspectives in Vermeer’s work, I would argue that camera obscura was used but not depended on. I believe that there is no shame in that: it’s a beautiful blend of science and the arts.

Description

Girl Reading a Letter at an Open Window, 1657-1659, Oil on canvas, 83 x 64.5 cm

Painted in Delft, Netherlands, and currently located at the Gemäldegalerie Alte Meister (Old Masters Picture Gallery) in Dresden, Germany

A young woman is reading a letter, possibly a love letter which is symbolized with the painting of Cupid behind her. She faces towards an open window, a common subject used in Vermeer’s paintings. In the corner of the white-plastered room, sits a Spanish chair. Placed in front of the woman is a “Turkish” carpet on a table. Upon the carpet lies a Chinese porcelain bowl with fruit spilling out. In the foreground, a green curtain is pulled aside to showcase the scene. Peeking from underneath, you can see the base of a Roemer, which was painted over with the green curtain.

The woman was most likely modeled by Vermeer’s wife whose image is in most of his work. She wears clothing that is depicted in some of his other paintings. Her some of her hair is painted using pointillé, a technique that uses painted dots as a decorative tool for reflections or fine detail. This technique is found throughout Vermeer’s works and attributed to the possible use of camera obscura.

The painting of Cupid in the background was not always visible. It was originally painted over after Vermeer’s death, but then discovered during restoration work in 2021. Its depiction is shared in A Young Woman standing at a Virginal, another Vermeer painting. 

(Left) Girl Reading a Letter at an Open Window prior 2021 restoration (Right) A Young Woman standing at a Virginal (1670-1672)

The window is a common subject in Vermeer’s paintings, used to let in natural light and add to the story. In this particular painting, I would say the window is used as symbolism to express hope and further the theme of love. I love how the red curtain is draped over the window and the reflection of the woman in the glass.

The chair, carpet, and bowl also make appearances in not just Vermeer’s paintings but also in other Dutch works. This is due to the expansion of Dutch trade and its influences on the art of the time. 

The green curtain is an interesting feature. It hangs from a metal rod which is painted across the upper part of the painting. Due to this placement, it separates it from the rest of the painting. It was common in Dutch households to have a curtain covering paintings to protect them from wear and dust. An example of a trompe l'œil curtain is also seen in this still-life by Adriaen van der Spelt and Frans van Mieris.

To read further and more in-depth about Girl Reading a Letter at an Open Window, explore here. I highly suggest exploring this website if you are interested in Vermeer and his art.

Influences

Johannes Vermeer was influenced by various events in his personal life and the world. Religion was definitely in effect personally and throughout Europe. With the Protestant Reformation, there was not a demand for religious paintings which shifted the focus of Northern European artists to secular subjects. Due to Vermeer’s Protestant upbringing and despite his eventual conversion to Catholicism, his focus was not on religion, but more so on depictions of everyday life. With that, the influences of other global events are seen in his work, especially the rise of the merchant class.

During Vemeer’s life, the Netherlands was experiencing a renaissance of its own. The Dutch Golden Age was brought forth by the growing monopoly the Dutch had over trade routes and wealth accumulated through colonization and slavery (“Dutch Golden Age”). The Dutch saw the effects of this through economic prosperity and scientific advancements.

The rise of the merchant class led to the demand for secular work and focused more on everyday life rather than religious subjects. The patrons of the arts moved from royalty and religious authorities to merchants. These influences are seen in Vermeer’s work in the detailed rugs and tapestries from the Middle East, pottery inspired by imported pieces from around Europe and China, maps, clothing, and Spanish chairs. In Girl Reading a Letter at an Open Window, you can see these inspirations in the painting’s objects.

Art Elements

Tone: Vermeer is known for his depiction of light. He uses tone in Girl Reading a Letter at an Open Window to create depth within the room and highlight the subjects. The woman is cast in light to draw attention to her and her action of reading the letter. The shadows accentuate the overall details found within the scene. It emphasizes the green curtain, adding to the idea that it is a trompe l'œil. The tone of this painting creates a tranquil atmosphere.

Color: The reds and bright greens are balanced out with vivid blues and whites seen in this painting. These colors add to the intricate details of the decorations and give the scene life. They immerse the viewer into the woman’s world inspired by the Dutch’s economic wealth and the promise of the future.

Texture: Vermeer’s use of chiaroscuro and pointillé gives the painting texture, seen in the variety of fabrics, the fine detailing of the woman’s hair, and the letter. The carpet folds stiffly but appears soft and woven. The curtains hang beautifully but in different ways. You can see the fluidness of the red curtain compared to the stiffness of the green curtain. This is done with Vermeer’s use of chiaroscuro; creating soft, curving lines in the red curtain and bold, harsh lines in the green curtain. The gentle curl of the woman’s hair is juxtaposed with the stiffness of the letter. 

Comparison to the Renaissance

Obviously, Johannes Vermeer’s Baroque work is quite different from typical Renaissance works. However, the influence and developments in art from the Renaissance echo in his work. Vermeer utilizes linear perspective, a technique developed during the Renaissance. He also shares the fine detailing that is found across Northern Renaissance works. Many Baroque artists utilize the dramatization of shadows and light as a key feature. This technique, chiaroscuro, was developed during the Renaissance. Vermeer's work uses chiaroscuro to give his art depth and modify the space around his subjects. However, a distinct difference between the two eras is the movement expressed in paintings. While the Renaissance focused on a realist depiction of the world as it is, the Baroque era focused on a realist depiction of the world through an expression of life as it is happening. 

The Arnolfini Portrait by Jan van Eyck (1434)
Currently located at the National Gallery in London, England

Jan van Eyck’s The Arnolfini Portrait and Vermeer’s Girl Reading a Letter at an Open Window have similarities in tone, depictions, and details. Van Eyck’s subjects are stiffly posed and he spares no detail of the room and its occupants. However, it is not in perfect linear perspective compared to the Girl Reading a Letter at an Open Window. While Vermeer’s work is not as extensive in detail, the atmosphere and then quality of the painting is not diminished.

Personal Relation

It took ages for me to narrow down which work I wanted to focus on; there's seldom a piece I do not like from the Baroque period, but I finally settled on Vermeer’s art. I love how he paints interiors and the effects of natural light coming through a window. Then picking just one of his works was nearly impossible, but I finally settled on Girl Reading a Letter at an Open Window because it expresses Vermeer's style and variety of influences. I could go on forever about his work now and would probably talk in circles if left to it! While making this blog, I grew to fully appreciate Vermeer’s art and discovered pointillé which is such a neat technique. 

Placement and Presentation

Girl Reading a Letter at an Open Window by Johannes Vermeer, framed

The frame on this painting is so plain in contrast to other works that have an elaborate gold frame. I feel like it's appropriate, as it compliments the natural light and colors within the work so that they are fully expressed. Sadly, it covers the Roemer which takes away some of the history behind the piece. I would own a copy of the full work, without the frame, and keep it relative to its original size so that the details can be fully appreciated.

Works Cited

Birch, Ellie. “Johannes Vermeer Artist Overview and Analysis.” The Art Story, 12AD, www.theartstory.org/artist/vermeer-johannes/.

Boone, Jonathan. “The ‘Missing’ Vermeers: A Brief Account of Vermeer’s Oeuvre.” How Many Vermeers?, Essential Vermeer, 2002, www.essentialvermeer.com/how_many_vermeers.html.

“Dutch Golden Age.” Wikipedia, Wikimedia Foundation, Feb. 2025, en.wikipedia.org/wiki/Dutch_Golden_Age.

Janson, Jonathan. “Complete Vermeer Catalogue and Tracker.” Complete Catalogue of the Painting of Johannes Vermeer, Essential Vermeer, 23 Dec. 2024, www.essentialvermeer.com/vermeer_painting_part_one.html.

Janson, Jonathan. “Vermeer and the Camera Obscura: Part I.” Vermeer and the Camera Obscura, Part One, Essential Vermeer, 2021, www.essentialvermeer.com/camera_obscura/co_one.html.

Janson, Jonathan. “Vermeer and the Camera Obscura: Part II.” Vermeer and the Camera Obscura, Part Two, Essential Vermeer, 2021, www.essentialvermeer.com/camera_obscura/co_two.html.

Wheelock, Arthur K. Johannes Vermeer, The National Gallery, 24 Apr. 2014, www.nga.gov/collection/artist-info.1951.html#biography.