Vermilion is the standard name given to the red pigment based on artificially made mercuric sulfide. The common red crystalline form of mercuric sulfide is cinnabar (fig. 1), a name reserved only for the natural mineral. The natural product found chiefly in Almaden and Idria has been eliminated for practical purposes. The properties of both natural and artificially prepared are practically identical. The best cinnabar came from Spain, but there were deposits of it in Italy at Monte Amiata, not far from Siena, and elsewhere in Europe. Upon grinding the red color begins to appear, and the longer it is ground, the finer the color becomes. It was widely used in the art and decoration of Ancient Rome, in the illuminated manuscripts of the Middle Ages and in the paintings of the Renaissance. The color was most famously used in creating Chinese lacquerware, which was exported around the world, giving rise to the term "Chinese red."
The traditional use of red glazes of madder, kermes and cochineal lakes over vermilion underpaint (fig. 2) not only increases the purity of the color but has been shown to reduce the tendency to darken as well. It is also known that the farther light can penetrate into the binding medium, the more quickly the vermilion will darken.
Fig. 1
Lustrous, radiating, acicular, red cinnabar crystals richly cover the vertical matrix on this excellent specimen from the famous Almaden Mine of California. Fig. 2The Sacrifice of Isaac (detail)
Andrea del Sarto
c. 1527
208 x 171cm.
Cleveland Museum of Art, Cleveland, Ohio
Detail of an unfinished drapery of the saint modeled in vermilion
Vermeer used vermilion in the traditional manner under glazes. The striking red satin gown in the Glass of Wine and that of the Girl with a Wine Glass(fig. 3) were probably first modeled with shades of vermillion and white lead and perhaps small quantities of black or natural ultramarine in the deepest shades. The whole gown was then glazed with madder lake. The same technique was also used to paint the fanciful read plumed hat worn by the Girl with a Red Hat.
Vermeer also made use of vermilion to paint the oriental carpets (fig. 4 & 5) which appear on the tables in many of his interiors. Again he seems to have employed the same technique described above. In its purer form, vermilion may be observed in the various ribbons and trimmings worn by his sitters.
Comprehensive Resources on Vermeer's Painting Techniques
BOON, J. and OBERTHALER, E., "Mechanical Weakness and Chemical Reactivity Observed in the Paint Structure and Surface of 'The Art of Painting'" in Vermeer: Die Malkunst - Spurensicherung an einem Meisterwerk, exh. cat., Kunsthistorisches Museum, Vienna 2010, 235–53 and 328–35.
COSTARAS, Nicola. "A Study of the Materials and Techniques of Johannes Vermeer." In Vermeer Studies, edited by Ivan Gaskell and Michiel Jonker, Studies in the History of Art 55, Center for Advanced Study in the Visual Arts, Symposium Papers XXXIII. Washington: National Gallery of Art & New Haven: Yale University Press, 1998, 145–167.
DELANEY, John K., Kathryn A. Dooley, Annelies van Loon, and Abbie Vandivere. "Mapping the Pigment Distribution of Vermeer's 'Girl with a Pearl Earring'." Heritage Science 8, no. 4 (January 7, 2020). Accessed May 2, 2022.
EASTAUGH, Nicholas, Valentine Walsh, Tracey Chaplin and Ruth Siddall. The Pigment Compendium 2017. Rev. ed. (e-version). London: The Pigmentum Project, 2016.
FINK, Daniel A. "Vermeer's Use of the Camera Obscura: A Comparative Study." The Art Bulletin 53 (1971).
GIEBE, Marlies. "Johannes Vermeers ‘Kupplerin': Restaurierung Und Maltechnische Befunde." In Uta Neidhardt and Marlies Giebe, eds., Johannes Vermeer: Bei der Kupplerin, 39–64. Exh. cat. Dresden: Michel Sandstein in association with Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen, 2004.
GIFFORD, E. Melanie, Anikó Bezur, Andrea Guidi di Bagno, and Lisha Deming Glinsman. "The Making of a Luxury Image: Van Aelst's Painting Materials and Artistic Techniques." In Tanya Paul, James Clifton, Arthur K. Wheelock Jr., and Julie Hochstrasser, Elegance and Refinement: The Still-Life Paintings of Willem van Aelst, 80–84. Exh. cat. New York: Skira Rizzoli, 2012.
GIFFORD, M. "Painting Light: Recent Observations on Vermeer's Technique." In Vermeer Studies, edited by Ivan Gaskell and Michiel Jonker. Washington, D.C.: National Gallery of Art & New Haven and London: Yale University Press, 1998, 185–199.
GIFFORD, E. Melanie, and Lisha Deming Glinsman. "Collective Style and Personal Manner: Materials and Techniques of High-Life 'Genre Painting'." In Waiboer, Wheelock, and Ducos, Vermeer and the Masters of Genre Painting, 65–84, 270–74.
GIFFORD, E. Melanie, Dina Anchin, Alexandra Libby, Marjorie E. Wieseman, Kathryn A. Dooley, Lisha Deming Glinsman, John K. Delaney. "First Steps in Vermeer's Creative Process: New Findings from the National Gallery of Art," Journal of Historians of Netherlandish Art 14, no. 2 (Summer 2022).
GIFFORD, E. Melanie. "Fine Painting and Eloquent Imprecision: Gabriel Metsu's Painting Technique." In Adriaan E. Waiboe, Gabriel Metsu, 154–79. New Haven: Yale University Press in association with the National Gallery of Art, 2010."
GIFFORD, E. Melanie. "Lievens' Technique: ‘Wonders in Smeared Paint, Varnishes and Oils.'" In Jan Lievens: A Dutch Master Rediscovered, edited by Arthur K. Wheelock Jr., 41–53. Exh. cat. New Haven: Yale University Press in association with the National Gallery of Art, 2008.
GIFFORD, E. Melanie. "Material as Metaphor: Non-Conscious Thinking in Seventeenth Century Painting Practice." In Studying Old Master Paintings: Technology and Practice, edited by Marika Spring, 165–72. London: Archetype in association with The National Gallery, 2011.
GIFFORD, E. Melanie. "Painting Light: Recent Observations on Vermeer's Technique." In Vermeer Studies, edited by Gaskell and Jonker, 185–99.
GROEN, Karin M., Inez D. van der Werf, Klaas Jan van den Berg, and Jaap J. Boon. "Scientific Examination of Vermeer's 'Girl with a Pearl Earring'." In Vermeer Studies, edited by Ivan Gaskell and Michiel Jonker. Washington, D.C.: National Gallery of Art & New Haven and London: Yale University Press, 1998, 169–183.
LAURENZE-LANDSBERG, Claudia. "Neutron-Autoradiography of Two Paintings by Jan Vermeer in the Gemäldegalerie Berlin." In Wolfgang Lefèvre, ed., Inside the Camera Obscura: Optics and Art under the Spell of the Projected Image, 213–25. Berlin: Max-Planck Institute for the History of Science, 2007.
LEVY-HALM, Koos. "Where Did Vermeer Buy His Painting Materials? Theory and Practice." In Gaskell and Jonker, Vermeer Studies, 137–43.
LIBBY, Alexandra, E. Melanie Gifford, Dina Anchin, Marjorie E. Wieseman, Kathryn A. Dooley, Lisha Deming Glinsman, John K. Delaney. "Experimentation and Innovation in Vermeer's 'Girl with the Red Hat': New Findings from the National Gallery of Art," Journal of Historians of Netherlandish Art 14, no. 2 (Summer 2022).
LIEDTKE, Walter A., Richard C. Johnson, and Don H. Johnson. "Canvas Matches in Vermeer: A Case Study in the Computer Analysis of Fabric Supports." Metropolitan Museum Journal 47 (2012): 101–8.
LOON, Annelies van, Abbie Vandivere, John K. Delaney, Kathryn A. Dooley, Steven De Meyer, Frederik Vanmeert, Victor Gonzalez, Koen Janssens, Emilien Leonhardt, Ralph Haswell, Suzan de Groot, Paolo D'Imporzano and Gareth R. Davies. "Beauty is Skin Deep: The Skin Tones of Vermeer's Girl with a Pearl Earring." Heritage Science 7, no. 102 (December 11, 2019). Accessed May 2, 2022.
LOON, Annelies van, Alessa A. Gambardella, Victor Gonzalez, Marine Cotte, Wout De Nolf, Katrien Keune, Emilien Leonhardt, Suzan de Groot, Art Ness Proaño Gaibor, and Abbie Vandivere. "Out of the Blue: Vermeer's Use of Ultramarine in Girl with a Pearl Earring." Heritage Science 8, no. 25 (February 28, 2020). Accessed May 2, 2022.
NEIDHART, Uta, and Marlies GIEBE, with essays by Albert Blankert, Chrisitne Klose, Johann Koller, Annalise Mayer-Meintsschel et al. Johannes Vermeer 'Bei der Kupplerin,' exh. cat. Dresden, 2004.
PEETERS, Natasja. "The Painter's Apprentice in Fifteenth and Sixteenth Century Antwerp: An Analysis of the Archival Sources." Mélanges de l'École française de Rome: Italie et Méditerranée modernes et contemporaines, nos. 131–2 (2019), 221–27, https://doi.org/10.4000/mefrim.6461.
POTTASCH, Carol. "Underdrawings in the Paintings of Frans van Mieris." In Quentin Buvelot, Frans van Mieris 1635–1681, 62–68. Exh. cat. Zwolle: Waanders 2005.
OBERTHALER, E., J. Boon, S. Stanek, and M. Griesser. "'The Art of Painting' by Johannes Vermeer. History of Treatments and Observations on the Present Condition." In Vermeer, Die Malkunst: Spurensicherung an einem Meisterwerk, exh. cat. Vienna: Kunsthistorisches Museum, 2010, 215–234 and 322–327. See especially illustrations 49 and 50.
SHELDON, L., and N. Costaras. "Johannes Vermeer's 'Young Woman Seated at a Virginal'." The Burlington Magazine 148 (February 2006): 89–97.
SIVEL, Valerie, Joris Dik, Paul Alkemade, Libby Sheldon, and Henny Zandbergen. "The Cloak of 'Young Woman Seated at a Virginal': Vermeer, or a Later Hand?" ArtMatters: Netherlands Technical Studies in Art 4 (2007): 90–96.
VANDIVERE, Abbie, ed., "The Girl in the Spotlight: A Technical Re-Examination of Vermeer's 'Girl with a Pearl Earring'." Special Collection, Heritage Science 7–8 (2019–20). Accessed May 2, 2022.
VERSLYPE, Ige. "The Restoration of 'Woman in Blue Reading a Letter' by Johannes Vermeer." The Rijksmuseum Bulletin 60, no. 1 (2012): 2–19.
WALD, Robert. "'The Art of Painting': Observations on Approach and Technique." In Sabine Haag, Elke Oberthaler, and Sabine Pénot, Vermeer, Die Malkunst: Spurensicherung an einem Meisterwerk, 312–27. Exh. cat. St. Pölten: Residenz in association with Kunsthistorisches Museum, Vienna, 2010.
WALLERT, Arie. "The Materials and Methods of Michiel Sweerts's Paintings." In Jansen and Sutton, Michiel Sweerts, 37–47.
WADUM, Jørgen, René Hoppenbrouwers, and Luuk Struick van der Loeff. Vermeer Illuminated: Conservation, Restoration and Research: A Report on the Restoration of the View of Delft and the Girl with a Pearl Earring by Johannes Vermeer. Wormer: V+K in association with the Royal Cabinet of Paintings Mauritshuis, The Hague, 1994.
WADUM, Jørgen. "Contours of Vermeer." In Vermeer Studies. New Haven and London, 1998, 201–223.
WIESEMAN, Marjorie E. "Acquisition or Inheritance? Material Goods in Paintings by Vermeer and His Contemporaries." In Waiboer, Wheelock, and Ducos, Vermeer and the Masters of Genre Painting, 50–63.
WIESEMAN, Marjorie E., Alexandra Libby, E. Melanie Gifford, Dina Anchin. "Vermeer's Studio and the 'Girl with a Flute': New Findings from the National Gallery of Art," Journal of Historians of Netherlandish Art 14, no. 2 (Summer 2022).