Complete Vermeer Catalogue: 1653-1661
(part one)
Characteristics and Use of the Complete Vermeer Catalogue:
by clicking on the title of the painting below, you will access a medium-size, high-quality image with a brief critical excerpt...from there you may link to the following exclusive features for each painting *
1. large high definition jpg. image (about 300 KB to 500 KB)
2. oversized maximum definition jpg. image (about 1.5 MB to 3 MB)
3. expert iconographical & artistic interpretation by Vermeer experts
4. technical data - signature - frame
5. detail image
* At the moment features 4 and 5 are not available for every painting but are being added on a regular basis
DIANA AND HER COMPANIONS
c. 1653-1656
oil on canvas
38 1/4 x 41 3/8 in. (98.5 x 105 cm.)
Mauritshuis, The Hague
c. 1654-1656
oil on canvas
63 x 53 7/8 in. (160 x 142 cm.)
National Gallery of Scotland, Edinburgh
THE PROCURESS
1656
oil in canvas
56 1/2 x 51 1/8 in. (143 x 130 cm.)
Staatliche Kunstsammlungen
Alte Meister (Gemäldegalerie Alte Meister), Dresden
c. 1656–57
oil on canvas
34 1/2 x 30 1/8 in. (87.6 x 76.5 cm)
The Metropolitan Museum of Art, New York
A GIRL READING A LETTER BY AN OPEN WINDOW
c. 1657-1659
oil on canvas
32 1/4 x 25 3/8 in. (83 x 64.5 cm.)
Staatliche Kunstsammlungen, Gemäldegalerie, Dresden
c. 1657-1661
oil on canvas
21 1/16 x 17 1/8 in. (53.5 c 43.5 cm.)
The Rijksmuseum, Amsterdam
OFFICER AND LAUGHING GIRL
c. 1655-1660
oil on canvas
19 7/8 x 18 1/8 in. (50.5 x 46 cm.)
The Frick Collection, New York
THE MILKMAID
c. 1658-1661
oil on canvas
17 7/8 x 16 in. (45.45 x 40.6 cm.)
The Rijksmuseum, Amsterdam
c. 1658-1661
oil on canvas
25 1/8 x 30 1/4 in. (65 x 77 cm.)
Staatliche Museen Preußischer Kulturbesitz, Gemäldegalerie, Berlin
THE GIRL WITH A GLASS OF WINE
c.1659-1660
oil on canvas
30 3/4 x 26 1/8 in. (78 x 67 cm.
Herzog Anton Ulrich-Museum, Brunswick
c. 1658-1661
oil on canvas
28 7/8 x 25 3/8 in. (73.3 x 44.4 cm.)
The Frick Collection, New York
c.1660-1661
oil on canvas
38 1/4 x 46 1/4 in. (98.5 x 117.5 cm.
The Mauritshuis, The Hague
TITLES: Over the years, scholars and museums have given a number of different titles to each of Vermeer's paintings. For the sake of uniformity, the titles which appear in Arthur K. Wheelock's catalogue on page 169 to 186 of Vermeer and the Art of Painting have been adopted on this site.
DATING: Since very few of Vermeer's paintings were dated by his own hand (probably only The Procuress in 1656), the dates given here are a distillation of those estimated by three contemporary Vermeer scholars: Albert Blankert, Walter Liedtke, and Arthur Wheelock. To resolve discrepancies among them, a range of their dates for each painting has been indicated, providing inclusive information and an informed sense of sequence. A table of these dates as well as those of other important Vermeer scholars can be found at: Dating Vermeer's Paintings.
ATTRIBUTION: There are thirty-four paintings which scholars overwhelmingly agree should be attributed to Johannes Vermeer. A probable thirty-fifth, Young Girl with a Flute at the National Gallery in Washington, DC, was likely begun by Vermeer but finished or restored by another; its lack of Vermeer's characteristic refinement has discouraged most scholars from making a firm attribution. For an informed discussion of this painting, see Arthur Wheelock's article, Young Girl with a Flute, in the catalogue of the 1995-1996 National Gallery of Art Johannes Vermeer Exhibition, pages 204-207. It is therefore cited by the National Gallery of Art itself as a work merely "attributed" to Vermeer.
The former Baron Rolin A Young Woman Seated at the Virginal s (now in an unknown loaction propertey of the Las Vegas casino mogul Steve Wynn) has been included in this catalogue since a committee of notable Vermeer scholars has recently proposed it as a secure addition to Vermeer's limited oeuvre. Not all scholars, however, are in agreement.
Another painting, St. Praxedis, has generated much controversy over the last 20 years as a possible addition to Vermeer's oeuvre. However, an overwhelming consensus among scholars has emerged recently backed by persuasive analytical evidence which argues against the inclusion of this work as a genuine Vermeer.
