In Light of Feminine Leisure in Vermeer’s Paintings

     Interior Dutch genre paintings were pioneered by artists such as Dirck Hals, William Duyster, and, of course, Johannes Vermeer (“master of light”) during the Dutch golden age of painting of the 17th century. This period, fresh out of the Eighty Years’ War for Dutch independence, was characterized by prosperity, leading to the Netherlands becoming Europe’s most prominent traders. It was during this period that women became central to Dutch home life, pursuing education in the arts as well as becoming well versed in finances. While other artists chose to depict women embracing maternal roles, such as caring for children, a majority of Vermeer’s paintings focus on quiet, personal moments of feminine leisure. Many women are portrayed participating in indoor activities, illuminated by exterior lighting from a nearby window. This exhibition attempts to explore how Vermeer’s fascination with the interior life of Dutch women may have furthered his understanding of light. 

Johannes Vermeer, Young Woman with a Lute, ca. 1662-1663, oil on canvas, (the MET: gallery 964)

Our first work we shall be observing, Young Woman with a Lute, was painted between the years 1662 and 1663. The painting depicts a seated young woman, gazing out a window while tuning her lute. The open song books as well as the viola da gamba in the foreground are often theorized to suggest the upcoming arrival of another musician, possibly a romantic suitor, to perform a duet with our protagonist. Throughout the piece, light and shadow are used to create contrast between the seated woman and her surroundings, as well as create a stark divide between the subject and the viewer. 

Johannes Vermeer, A Lady Writing, c. 1665, oil on canvas, (National Gallery of Art)

Our next piece, A Lady Writing,was painted in 1665, and depicts a young woman who seems to have been interrupted from her writing

by the viewer as she glances in our direction, quill still in hand. The simplicity of this shadowy

interior causes the viewer’s gaze to fall on the woman as we are confronted by her directness.

In this painting, soft and natural light is used sparingly, primarily emphasizing the seated woman

at the table.

Johannes Vermeer, A Maid Asleep, ca. 1656-1657, oil on canvas, (the MET: gallery 964)

In one of Vermeer’s earliest genre paintings, A Maid Asleep,  we peer into a dimly lit space to see a young woman who has dozed off against a table, gently resting against her arm. Vermeer has transfigured this seemingly ordinary scene into an investigation of light and color. The warm tones of the woman’s dress along with the tablecloth create a sense of unity. The soft

glow of natural light is strategically placed to reflect against the woman, illuminating her presence. 

Johannes Vermeer, Young Woman with a Water Pitcher, ca. 1662, oil on canvas, (the MET: gallery 964)

    As we gaze into the scene of Young Woman with a Water Pitcher, we see a young woman standing beside a cluttered table, one hand on a silver pitcher, and the other in

the process of opening a window. As this is one of Vermeer’s brighter paintings, we can truly appreciate

how he uses excess light. This work suggests that Vermeer acknowledges light as a composition of colors,

for example, the blue drape is reflected as dark blue on the side of the silver pitcher, while the red fabric

of the table cloth modifies the gold hue of the basin’s underside. 

Johannes Vermeer, Woman Writing a Letter, with her Maid, ca. 1670, oil on canvas, (National Gallery of Ireland)

In one of Vermeer’s later works, Woman Writing a Letter, with her Maid,our attention is now drawn to two figures: a woman seated at a table, composing a sort of letter, and an

awaiting handmaiden standing behind her, arms crossed, gazing out a window. Vermeer uses the

unique interior of a large 17th century Dutch home to explore light’s effects on objects such as

sheer curtains and stained glass windows. We can also see how light was obscured, creating

dynamic shadows throughout the room.

Johannes Vermeer, Woman with a Pearl Necklace, ca. 1664, oil on canvas, (The Gemäldegalerie, Berlin)

    For our last work, Woman with a Pearl Necklace, we observe an elegantly dressed young woman who seems to be adorning herself with a pearl necklace,

and gazing out a window. Back-lit furniture obstructs our view of the lower left portion of the work,

accentuating the young woman gazing out the window. The outside light source fills the room and

illuminates her figure. Contrasting shadows are cast around the room, framing the presence of our

protagonist.