Complete Vermeer Catalogue: 1662 - 1667
(part two)
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
c. 1662-1664
oil on canvas
28 7/8 x 25 3/8 in. (73.3 x 64.5 cm.)
The Royal Collection, The Windsor Castle
c. 1662-1665
oil on canvas
18 1/4 x 15 7/8 in. (46.5 x 38 cm.)
The Rijksmuseum, Amsterdam
WOMAN HOLDING A BALANCE
c. 1622-1665
oil on canvas
stretcher size: 16 3/4 x 15 in. (42.5 x 38 cm.)
The National Gallery of Art, Washington D.C.
YOUNG WOMAN WITH A WATER PITCHER
c. 1662-1665
oil on canvas
18 x 16 in. (45.7 x 40.6 cm)
The Metropolitan Museum of Art, New York
WOMAN WITH A LUTE
c. 1662-1664
oil on canvas
20 1/4 x 18 in. (51.4 x 45.7 cm)
The Metropolitan Museum of Art, New York
c.1662-1665
oil on canvas
21 1/8 x 17 1/4 in. (55 x 45 cm.)
Staatlche Museen Preusscher Kulturbesitz, Gemäldegalerie
Berlin
A LADY WRITING
c. 1665-1666
oil on canvas
17 3/4 x 15 3/4 in. (45 x 39.9 cm.)
The National Gallery of Art, Washington D.C.
c. 1665-1666
oil on panel
support: 9 1/2 x 7 1/8 in. (23.2 x 18.1 cm.)
painted surface: 9 x 7 1/16 in. (22.8 x 18 cm.)
The National Gallery of Art, Washington D.C.
c. 1665-1670
oil on panel
7 7/8 x 7 in. (20 x 17.8 cm.)
National Gallery, Washington D.C.
THE GIRL WITH A PEARL EARRING
c. 1665- 1667
oil on canvas
18 1/4 x 15 1/4 in. (46.5 x 40 cm.)
Mauritshuis, The Hague
c. 1664-1667
oil on canvas
28 1/2 x x25 2 in. (72.5 x 64.7 cm.)
Isabella Gardner Museum, Boston
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.
