Mistress and Maid
Mistress and Maid (Dutch: Dame en dienstbode) is an oil-on-canvas painting produced by Johannes Vermeer c. 1667. It portrays two women, a mistress and her maid, as they look over the mistress' letter. The painting displays Vermeer's preference for yellow and blue, female models, and domestic scenes. It is now in the Frick Collection in New York City.
Artist
Johannes Vermeer was born in 1632 in Delft, Holland.[1] He worked and lived in Delft all his life, although it is possible that he may have done an apprenticeship in another town such as Amsterdam or Utrecht for six years. A major stepping point in Vermeer's career was in 1653 when he joined the Guild of Saint Luke as a master and professional painter. Vermeer painted at a somewhat leisurely pace, producing two to three paintings a year; there are 35 known to exist today. Vermeer is thought to have made use of a camera obscura, which may have influenced the way he often painted highlights as unfocused circles of confusion.[2] Vermeer died at a relatively young age, 43, in 1675. He suffered most likely from a stroke or stress-induced heart attack.[3] The slow rate at which he produced paintings restricted Vermeer from becoming wealthy during his lifetime, and he died in debt.[3]
Description
Mistress and Maid was painted during 1666–1667. The painting shows an elegant mistress and her maid as they look over a letter that the mistress just received. There is a strong use of yellow in the woman's elegant fur-lined overcoat, and blue in the silk tablecloth and the maid's apron. The focus of the painting is the two women as they are sitting at a desk, doing an everyday activity. Vermeer was known for his domestic scenes containing women. The light in the painting comes from the left, and falls on the mistress' face. The mistress has a pensive gaze, with her lips parted slightly and her fingertips lifted to her chin in a questioning manner. The lighted parts of the yellow overcoat are formed with sweeping brushstrokes of lead-tin-yellow and the shadows are created with definition. Vermeer uses a dark background, as he does in other paintings such as Portrait of a Young Woman and Girl with a Pearl Earring. Pearls were an important status symbol of the period and that was reflected in the mistress' fancy attire and her abundance of pearls.
Letters are a prevalent theme in Vermeer's paintings from the 1660s. Earlier works, such as Woman in Blue Reading a Letter (c. 1663–4), depict a woman by herself with a letter, but in this painting the added maid is a new element. The gestures and expressions of the two women suggest anxiety over the letter and its potential contents.[4] The painting is well preserved.
See also
- List of paintings by Johannes Vermeer
- Girl with a Pearl Earring
- Portrait of a Young Woman
References
- ^ "WebMuseum: Vermeer, Jan". Ibiblio.org. 2002-10-14. Retrieved 2013-06-29.
- ^ Wheelock, Arthur K. (1995). Johannes Vermeer. Washington, DC: National Gallery of Art. p. 162. ISBN 0894682199.
- ^ a b "Girl With a Pearl Earring - The Story - Tracy Chevalier". Tchevalier.com. Retrieved 2013-06-29.
- ^ Wheelock, Arthur K. (1995). Johannes Vermeer. Washington, DC: National Gallery of Art. p. 182. ISBN 0894682199.
- About Vermeer." Tracy Chevalier. N.p., Dec. 2011. Web. 8 Mar. 2012.
- Janson, Jonathon. "Mistress and Maid." Essential Vermeer. N.p., 2011. Web. 8 Mar. 2012.
- Pioch, Nicolas. "Jan Vermeer." WebMuseum, Paris. N.p., 14 Oct. 2002. Web. 8 Mar. 2012
Further reading
- Liedtke, Walter A. (2001). Vermeer and the Delft School. Metropolitan Museum of Art. ISBN 9780870999734.
- Iacono, Margaret; Ivory, James (2018). Vermeer's Mistress and Maid. GILES. ISBN 978-1-911282-37-2.
External links
- Mistress and Maid at the website of the Frick Collection
- v
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- List of works
- Christ in the House of Martha and Mary (c. 1655)
- Saint Praxedis (c. 1655)
- Diana and Her Companions (c. 1653–1656)
- The Procuress (1656)
- A Girl Asleep (c. 1657)
- Officer and Laughing Girl (c. 1657)
- The Little Street (c. 1657–1658)
- The Milkmaid (c. 1657–1658)
- Girl Reading a Letter at an Open Window (c. 1657–1659)
- Girl Interrupted at Her Music (c. 1658–1659)
- The Girl with the Wine Glass (c. 1659–1660)
- The Wine Glass (c. 1660)
- View of Delft (c. 1660–1661)
- Woman with a Water Jug (c. 1660–1662)
- Woman Holding a Balance (c. 1662–1663)
- Woman with a Lute (c. 1662–1663)
- Woman Reading a Letter (c. 1663)
- The Concert (c. 1664)
- Woman with a Pearl Necklace (c. 1664)
- The Music Lesson (c. 1662–1665)
- Girl with a Pearl Earring (c. 1665)
- A Lady Writing a Letter (c. 1665)
- Girl with a Red Hat (c. 1665–1666)
- Study of a Young Woman (c. 1665–1667)
- Mistress and Maid (c. 1667)
- The Art of Painting (c. 1666–1668)
- The Astronomer (c. 1668)
- The Geographer (c. 1668–1669)
- The Lacemaker (c. 1669–1670)
- The Love Letter (c. 1669–1670)
- Lady Writing a Letter with her Maid (c. 1670–1671)
- The Allegory of Faith (c. 1670–1672)
- Lady Seated at a Virginal (c. 1670–1672)
- Lady Standing at a Virginal (c. 1670–1672)
- A Young Woman Seated at the Virginals (c. 1670–1672)
- The Guitar Player (c. 1672)
- Girl with a Flute (c. 1665–1670)
- The Ghost of Vermeer of Delft Which Can Be Used as a Table (1934 painting)
- Girl with a Pearl Earring (1999 novel)
- Girl with a Pearl Earring (2003 film)
- Girl with a Pearl Earring (2008 play)
- Maria Thins (mother-in-law)
- Maria de Knuijt and Pieter van Ruijven (patrons)
- Han van Meegeren
- Antonie van Leeuwenhoek
- Delft School (painting)
- Tronie
- Dutch Golden Age painting
- Hockney–Falco thesis
- Isabella Stewart Gardner Museum theft
- Vermeer Centre
- All the Vermeers in New York (1990 film)
- Writing to Vermeer (1999 opera)
- Chasing Vermeer (2004 novel)
- Vermeer's Hat (2008 history book)
- Tim's Vermeer (2013 documentary film)