Standing at an open window, a woman begins her day with ablutions from a gilt silver pitcher and basin, with linen coverings protecting her dress and hair. The first work by Vermeer to enter an American collection, this painting embodies the artist’s interest in domestic themes, giving an almost voyeuristic glimpse into the private life of a woman before she presents her public face to the world.
#5182. Young Woman with a Water Pitcher
0:00
0:00
Playlist
5182. Young Woman with a Water Pitcher
5259. Young Woman with a Water Pitcher
127. The Director's Tour, Second Floor: Young Woman with a Water Pitcher
Credit Line:Marquand Collection, Gift of Henry G. Marquand, 1889
Object Number:89.15.21
This canvas of about 1662, one of Vermeer's most beautiful works, was the first painting by Vermeer to enter an American public collection. The Met's canvas is one of a small group of canvases dating from about 1662–65 in which isolated women appear as mistresses of their private domains. Among other pictures of this type may be included the Woman in Blue Reading a Letter (Rijksmuseum, Amsterdam), Woman with a Pearl Necklace (Gemäldegalerie, Berlin), Woman with a Balance, and perhaps A Lady Writing (both National Gallery of Art, Washington). The Amsterdam painting shares particular compositional similarities with The Met's work.
Technical analysis reveals that a larger map than the one now visible originally extended to the left behind the woman, so that her head was framed within the wall hanging's lower left corner. In addition, the back of a chair set on an angle was placed in the left foreground and partly overlapped the window. The chair, the use of an open window as a spatial device, and the bright, local coloring are consistent with Vermeer's style in works dating from about 1658/59–62.
[2010; adapted from Liedtke 2007]
Robert Vernon, London (1801?–d. 1849; his estate sale, Christie's, London, April 21, 1877, no. 97, as "Lady at Table—Ewer and Dish," by Metsu, for £404.5.0 to Colnaghi); Mervyn Wingfield, 7th Viscount Powerscourt, Powerscourt, near Enniskerry, co. Wicklow, Ireland (1878–?1887); [Agnew, London]; [Bourgeois Frères, Paris]; [Charles Pillet, Paris, 1887; sold to Marquand for $800]; Henry G. Marquand, New York (1887–89)
London. British Institution. June 1838, no. 29 (as "A Female at a window," by Metsu, lent by R. Vernon, Esq.).
London. Royal Academy of Arts. "Winter Exhibition," 1878, no. 267 (as "Lady at a Casement," by Jan van der Meer, lent by Viscount Powerscourt).
New York. The Metropolitan Museum of Art. "Exhibition of 1888–89," 1888–89, no. 29 (as "Young Woman opening a Casement").
New York. The Metropolitan Museum of Art. "Temporary Exhibition," April 1906, no. 40 (as "Young Woman at a Window").
New York. The Metropolitan Museum of Art. "The Hudson-Fulton Celebration," September–November 1909, no. 137 (as "Girl with Water-Jug").
Rotterdam. Museum Boymans. "Vermeer, Oorsprong en Invloed Fabritius, De Hooch, De Witte," July 9–October 9, 1935, no. 85.
Amsterdam. Rijksmuseum. "Vermeer Tentoonstelling," October 21–November 3, 1935, no. 167.
The Hague. Mauritshuis. "In Het Licht van Vermeer," June 25–September 5, 1966, no. IV.
Paris. Musée de l'Orangerie. "Dans la lumière de Vermeer," September 24–November 28, 1966, no. V.
Museum of Fine Arts, Boston. "Masterpieces of Painting in The Metropolitan Museum of Art," September 16–November 1, 1970, unnumbered cat. (p. 45).
New York. The Metropolitan Museum of Art. "Masterpieces of Fifty Centuries," November 14, 1970–June 1, 1971, no. 283.
Washington. National Gallery of Art. "Johannes Vermeer," November 12, 1995–February 11, 1996, no. 11.
The Hague. Mauritshuis. "Johannes Vermeer," March 1–June 2, 1996, no. 11.
New York. The Metropolitan Museum of Art. "Vermeer and the Delft School," March 8–May 27, 2001, no. 71.
London. National Gallery. "Vermeer and the Delft School," June 20–September 16, 2001, no. 71.
Madrid. Museo Nacional del Prado. "Vermeer y el interior holandés," February 19–May 18, 2003, no. 34.
New York. The Metropolitan Museum of Art. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art," September 18, 2007–January 6, 2008, no catalogue.
New York. The Metropolitan Museum of Art. "Vermeer's Masterpiece 'The Milkmaid'," September 9–November 29, 2009, no. 7.
Kyoto Municipal Museum of Art. "Vermeer and Rembrandt: The Masters of the 17th Century Dutch Golden Age," October 24, 2015–January 5, 2016, no. 48.
Tokyo. Mori Arts Center Gallery. "Vermeer and Rembrandt: The Masters of the 17th Century Dutch Golden Age," January 14–March 31, 2016, no. 48.
Fukushima Prefectural Museum of Art. "Vermeer and Rembrandt: The Masters of the 17th Century Dutch Golden Age," April 6–May 8, 2016, no. 48.
New York. The Metropolitan Museum of Art. "In Praise of Painting: Dutch Masterpieces at The Met," October 16, 2018–October 4, 2020, no catalogue.
THIS WORK MAY NOT BE LENT.
H. W. "Van der Meer." Athenæum no. 2585 (May 12, 1877), p. 616, attributes it to Vermeer.
Henry Havard. Van der Meer de Delft. Paris, 1888, p. 39, no. 56, ill. p. 31 (engraving), as "L'aiguière".
A. C. Loffelt. "Zwervers tot rust gekomen." De Nederlandsche Spectator (1889), p. 62 [see Ref. Wheelock and Broos 1995].
"Verscheidenheid." Utrechtsch Provinciaal en Stedelijk Dagblad no. 57 (February 26, 1889), unpaginated, as "Een jonge vrouw, die een venster opent" (a young woman opening a window).
Pierre Petroz. "L'école hollandaise." L'art 48, part 1 (1890), ill. p. 176.
Corn[elis]. Hofstede de Groot. "Johannes Vermeer." Die Graphischen Künste 18 (1895), p. 24.
W[illiam]. Roberts. Memorials of Christie's: A Record of Art Sales from 1766 to 1896. London, 1897, vol. 1, p. 269.
C[ornelis]. Hofstede de Groot. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. Ed. Edward G. Hawke. Vol. 1, London, 1907, p. 272, no. 62, p. 590, no. 19, catalogues it on p. 272 as "A Lady Opening a Window," by Metsu, bought by Colnaghi at the Vernon sale of 1877 for £404.5, and on p. 590 as "A Young Woman with a Water-Jug (or, A Young Woman Opening a Casement)".
Gustave Vanzype. Vermeer de Delft. Brussels, 1908, pp. 40, 98, ill. opp. p. 102.
Wilhelm R. Valentiner. The Hudson-Fulton Celebration: Catalogue of an Exhibition Held in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1909, vol. 1, p. 138, no. 137, ill. opp. p. 138.
Royal Cortissoz. "Old Dutch Masters." Tribune (September 19, 1909) [reprinted in the Metropolitan Museum of Art Bulletin 4 (October 1909), p. 166].
Byron P. Stephenson. "Great Dutch Artists." Evening Post (September 20, 1909) [reprinted in Metropolitan Museum of Art Bulletin 4 (October 1909), p. 172, ill. p. 168].
Cornelis Hofstede de Groot. Jan Vermeer of Delft and Carel Fabritius. Amsterdam, 1909, pp. 25–29, pl. 11.
Joseph Breck. "L'art hollandais à l'exposition Hudson-Fulton à New York." L'art flamand & hollandais 13, no. 2 (1910), p. 57, ill. p. 55 [published in Dutch in Onze Kunst 17 (February 1910), p. 41, ill. p. 42].
E[mil]. Waldmann. "Die Ausstellung Holländischer Gemälde des 17. Jahrhunderts in New York." Zeitschrift für bildende Kunst, n.s., 21, no. 4 (1910), p. 84, ill. p. 85.
Wilhelm R. Valentiner. "Die Ausstellung holländischer Gemälde in New York." Monatshefte für Kunstwissenschaft 3, no.1 (1910), p. 11.
Alfred von Wurzbach. Niederländisches Künstler-Lexikon. Vol. 2, Vienna, 1910, p. 776.
Kenyon Cox. "Dutch Pictures in The Hudson-Fulton Exhibition—II." Burlington Magazine 16 (January 1910), p. 246.
[Max J.] Friedländer. "Die Ausstellung holländischer Bilder im Metropolitan Museum zu New York 1909." Repertorium für Kunstwissenschaft 33 (1910), p. 98.
Eduard Plietzsch. Vermeer van Delft. Leipzig, 1911, pp. 50–51, 118, no. 27, pl. 12.
William Bode. "More Spurious Pictures Abroad Than in America." New York Times (December 31, 1911), p. SM4.
Georges Dreyfous. L'oeuvre de Jan Vermeer de Delft dit Van Der Meer de Delft (1632–1675). Paris, 1912, pp. 16, 28.
Philip L. Hale. Jan Vermeer of Delft. Boston, 1913, pp. 99–101, 132, 136, 138, 163, 178, 180–81, 183, 187–88, 244, 248–50, 368, 373, ill. (color, frontispiece).
Wilhelm von Bode. Die Meister der holländischen und vlämischen Malerschulen. Leipzig, 1917, p. 76, ill. p. 75.
A[lbert]. E[ugene]. Gallatin. "Vermeer of Delft." American Magazine of Art 8 (August 1917), pp. 386, 390.
P. Johansen. "Jan Vermeer de Delft." Oud-Holland 38 (1920), pp. 196, 198, dates it about 1660–65.
Hermann Nasse. "Jan Vermeer von Delft." Die Kunst für Alle 38 (October 1922), p. 6, ill. p. 10.
E. V. Lucas. Vermeer of Delft. London, [1922?], pp. 35, 37, ill. opp. p. 44.
Wilhelm Hausenstein. Vermeer van Delft. Munich, 1924, p. 24, pl. 16.
David Lloyd. "The Vermeers in America." International Studio 82 (November 1925), pp. 123–24, ill. p. 125.
Jean Chantavoine. Ver Meer De Delft. Paris, 1926, pp. 36, 52, 59–60, 76, 83, 94, 99–101, ill. p. 25, places it with a group of paintings he dates between 1654 and 1660.
Seymour de Ricci. "Le quarante-et-unième Vermeer." Gazette des beaux-arts, 5th ser., 16 (December 1927), p. 309.
Wilhelm R. Valentiner. "Zum 300. Geburtstag Jan Vermeers, Oktober 1932: Vermeer und die Meister der holländischen Genremalerei." Pantheon 10 (October 1932), p. 322, dates it about 1657.
Arsène Alexandre. "Nouveaux aperçus sur Vermeer." L'art et les artistes, n.s., 25 (February 1933), p. 166.
Hans Tietze. Meisterwerke europäischer Malerei in Amerika. Vienna, 1935, p. 337, pl. 185 [English ed., "Masterpieces of European Painting in America," New York, 1939, pp. 321–22, pl. 185], dates it about 1665.
A. Heppner. "Vermeer—seine künstlerische Herkunft und Ausstrahlung." Pantheon 8 (August 1935), p. 262, ill. opp. p. 287 (color).
George Isarlov. "Vermeer à l'Exposition de Rotterdam." La Renaissance 18 (October 1935), p. 102.
André de Hevesy. "L'Exposition Vermeer de Rotterdam." Bulletin de l'art [supplement of Revue de l'art] 68 (November 1935), p. 366, ill. p. 365.
Philip L. Hale. Vermeer. Boston, 1937, pp. 64, 73, 81, 84, 107–11, 120, 190, colorpl. 1.
Eduard Plietzsch. Vermeer van Delft. Munich, 1939, pp. 18, 21–22, 59, fig. 1.
A. B. de Vries. Jan Vermeer van Delft. Amsterdam, 1939, pp. 40, 81–82, no. 11, fig. 37, dates it about 1658.
Eduard Trautscholdt inAllgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 34, Leipzig, 1940, p. 268.
Margaret Breuning. "Metropolitan Re-Installs Its Treasures in Attractive Settings." Art Digest 18 (June 1, 1944), p. 26.
Millia Davenport. The Book of Costume. New York, 1948, vol. 2, p. 625, no. 1663, ill. (cropped).
Elizabeth E. Gardner. "Thoré's Sphinx." Metropolitan Museum of Art Bulletin 7 (November 1948), pp. 76, 78, ill. p. 75 and on cover (color detail).
A. B. de Vries. Jan Vermeer van Delft. London, 1948, pp. 36–37, 84, pl. 10, dates it about 1658–60.
P. T. A. Swillens. Johannes Vermeer, Painter of Delft, 1632–1675. Utrecht, 1950, pp. 56, 72, 83, 85, 87–88, 118, 144, no. 16, pl. 16, as possibly acquired by Lord Powerscourt's grandfather, Lord Castlereagh.
Lawrence Gowing. Vermeer. London, 1952, pp. 130–31, no. XV, pls. 38–39 (overall and detail), places it in the same period as "Young Woman with a Wineglass" (Herzog Anton Ulrich-Museum, Brunswick).
André Malraux. Vermeer de Delft. Paris, 1952, p. 74, no. XVII, ill. p. 75 (color).
Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 99.
Vitale Bloch. Tutta la pittura di Vermeer di Delft. Milan, 1954, pp. 21, 32–33, pls. 35–37 (overall and details) [English ed., New York, 1963, pp. 23, 32–33, pls. 35–37 (overall and details)], dates it about 1660.
Albert TenEyck Gardner. "Metropolitan People and Pictures." Art News 52 (January 1954), p. 71, ill. p. 33 (color).
Theodore Rousseau Jr. "A Guide to the Picture Galleries." Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), p. 3, ill. on cover (color detail).
Michal Walicki. Vermeer. Warsaw, 1956, p. 22, pl. 13.
A. Hyatt Mayor. "The Gifts that Made the Museum." Metropolitan Museum of Art Bulletin 16 (November 1957), p. 100, ill. p. 87.
Ludwig Goldscheider. Jan Vermeer: The Paintings. London, 1958, pp. 5, 136–37, no. 16, colorpl. 43, dates it about 1663.
A. Westers. "Een lampetkan van Delfts aardewerk." Bulletin Museum Boymans-van Beuningen 12, no. 3 (1961), p. 95.
Lawrence Gowing. Johannes Vermeer. London, 1961, pp. 22, 31, no. 59, colorpl. 59.
Jakob Rosenberg and Seymour Slive inDutch Art and Architecture: 1600 to 1800. Baltimore, 1966, p. 121.
Piero Bianconi inL'opera completa di Vermeer. Milan, 1967, p. 90, no. 13, ill. p. 90 and colorpl. XXXIII [English ed., 1970].
Horst Gerson inEncyclopedia of World Art. Vol. 14, New York, 1967, col. 742, dates it before 1660.
Hans Koningsberger. The World of Vermeer, 1632–1675. New York, 1967, pp. 16–17, 26–27, 147–48, ill. (color, overall and detail).
Introduction by Kenneth Clark. Masterpieces of Fifty Centuries. Exh. cat., The Metropolitan Museum of Art. New York, 1970, p. 261, no. 283, ill. pp. 261 and 56 (color).
Calvin Tomkins. Merchants and Masterpieces: The Story of The Metropolitan Museum of Art. New York, 1970, pp. 74, 172 [rev., enl. ed., 1989].
Jane Norman. "How to Look at Art." Metropolitan Museum of Art Bulletin 28 (January 1970), p. 199, ill.
Denys Sutton, ed. Letters of Roger Fry. New York, 1972, vol. 1, p. 255 n. 1 to letter no. 177 (March 2, 1906).
Jakob Rosenberg and Seymour Slive inDutch Art and Architecture: 1600 to 1800. rev. ed. Harmondsworth, England, 1972, pp. 200–203, fig. 148.
John Walsh Jr. "Vermeer." Metropolitan Museum of Art Bulletin 31 (Summer 1973), unpaginated, ill. front cover and fig. 7 (color, overall and detail), dates it early 1660s.
Hubert von Sonnenburg. "Technical Comments." Metropolitan Museum of Art Bulletin 31 (Summer 1973), unpaginated, figs. 80 (color detail), 81 (detail, before restoration), 91 (x-ray detail), ill. front cover (color detail).
Carl Nordenfalk. "Outdoors—Indoors: A 2000-Year-Old Space Problem in Western Art." Proceedings of the American Philosophical Society 117 (August 1973), p. 247, fig. 21.
Julián Gállego and Frédéric Mégret. La grande histoire de la peinture. Vol. 10, Le Siècle d'or en Hollande. [Geneva], 1973, pp. 49, 58.
[Jean Mistler]. Vermeer. [Paris], [1973], unpaginated, ill. (color), dates it about 1662.
Ernst Günther Grimme. Jan Vermeer van Delft. Cologne, 1974, pp. 54, 56, 105, no. 18, ill. and frontispiece (color), dates it about 1662–63.
Albert Blankert, Rob Ruurs, and Willem L. van de Watering. Johannes Vermeer van Delft, 1632–1675. Utrecht, 1975, pp. 59–60, 62, 109, 146–47, 159, no. 12, colorpl. 12 [English ed., "Vermeer of Delft," Oxford, 1978, pp. 62, 73, 159–60, no. 12, colorpl. 12].
James A. Welu. "Vermeer: His Cartographic Sources." Art Bulletin 57 (December 1975), pp. 534–35, fig. 5 [expanded in Ref. Welu 1977], dates it about 1662 and identifies the wall map as the Seventeen Provinces of the Netherlands, published by Hugo Allart.
Christopher Wright. Vermeer. London, 1976, pp. 11, 39, 79, 82–83, colorpl. III and pl. 13.
James A. Welu. "Vermeer and Cartography." PhD diss., Boston University, 1977, vol. 1, pp. 43–46, no. 2; vol. 2, fig. 56.
R. H. Fuchs. Dutch Painting. New York, 1978, p. 59, fig. 40 (color).
Anneliese Mayer-Meintschel. "Die Briefleserin von Jan Vermeer van Delft—zum Inhalt und zur Geschichte des Bildes." Jahrbuch der Staatlichen Kunstsammlungen Dresden 11 (1978/79), p. 98 n. 15.
Jed Perl. "Johannes Vermeer's 'Young Woman with a Water Jug'." Arts Magazine 53 (January 1979), pp. 118–21, ill.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 13, 344–45, fig. 1 (color).
Otto Naumann. Frans van Mieris (1635–1681) the Elder. Doornspijk, 1981, vol. 1, p. 68.
Leonard J. Slatkes. Vermeer and His Contemporaries. New York, 1981, p. 50, ill. p. 51 (color), dates it about 1662.
Arthur K. Wheelock Jr. Jan Vermeer. New York, 1981, pp. 44, 48, 114, 116, colorpls. 26–27 (overall and detail), dates it about 1664–65.
Peter C. Sutton inMasters of Seventeenth-Century Dutch Genre Painting. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1984, p. LV, fig. 100.
Martin Pops. Vermeer: Consciousness and the Chamber of Being. Ann Arbor, Mich., 1984, pp. 8, 11, 15, 18, 26, 29, 41, 46, 53, 55, 89, 95, figs. 5–7 (overall and diagrams).
John Pope-Hennessy. "Roger Fry and The Metropolitan Museum of Art." Oxford, China, and Italy: Writings in Honour of Sir Harold Acton on his Eightieth Birthday. Ed. Edward Chaney and Neil Ritchie. London, 1984, p. 231.
Peter C. Sutton. A Guide to Dutch Art in America. Grand Rapids, Mich., 1986, p. 189, fig. 270.
Gilles Aillaud, Albert Blankert, and John Michael Montias. Vermeer. Paris, 1986, pp. 47, 50, 108–9, 112, 180–81, no. 12, fig. 38 (detail), colorpl. XI [English ed., 1988, pp. 47, 50, 108–9, 112, 156, 179, no. 12, fig. 38, colorpl. 11].
Bärbel Hedinger. Karten in Bildern: Zur Ikonographie der Wandkarte in holländischen Interieurgemälden des siebzehnten Jahrhunderts. Hildesheim, 1986, pp. 94–95, 98–99, 102–3, fig. 95 and ill. on cover.
Bärbel Hedinger. "Karten in Bildern. Zur politischen Ikonographie der Wandkarte bei Willem Buytewech und Jan Vermeer." Holländische Genremalerei im 17. Jahrhundert. Ed. Henning Bock and Thomas W. Gaehtgens. Berlin, 1987, p. 159, fig. 11 [same text published in Die Kunst (January 1987)].
Arthur K. Wheelock. "Pentimenti in Vermeer's Paintings: Changes in Style and Meaning." Holländische Genremalerei im 17. Jahrhundert. Ed. Henning Bock and Thomas W. Gaehtgens. Berlin, 1987, pp. 385, 390–91, 412 n. 15, figs. 1–2 (overall and reflectogram details).
John Michael Montias. Vermeer and His Milieu: A Web of Social History. Princeton, 1989, pp. 190, 266, fig. 42.
Walter Liedtke. "Dutch Paintings in America: The Collectors and Their Ideals." Great Dutch Paintings from America. Exh. cat., Mauritshuis, The Hague. Zwolle, The Netherlands, 1990, pp. 17, 36, 40, fig. 1.
John Nash. Vermeer. London, 1991, pp. 26, 28, 31, 94, 96–98, ill. (color).
M. Elizabeth Boone. "Gilded Age Values and a Golden Age Painter: American Perceptions of Jan Vermeer." Rutgers Art Review 12–13 (1991–92), pp. 52, 68, fig. 2.
Walter Liedtke. "Vermeer sin egen läromästare." Rembrandt och hans Tid: Människan i Centrum. Exh. cat., Nationalmuseum. Stockholm, 1992, pp. 92, 102–3, fig. 9 [reprinted in Wayne E. Franits, ed., "The Cambridge Companion to Vermeer," Cambridge, 2001, pp. 30, 39, pl. 18].
Daniel Arasse. L'Ambition de Vermeer. Paris, 1993, pp. 129, 148–49, 188 n. 17, fig. 29 [English ed., "Vermeer, Faith in Painting," Princeton, 1994, pp. 50, 64, 113 n. 17, fig. 29].
Robin Hamlyn. "Robert Vernon's Gift to the Nation." Apollo, n.s., 137 (March 1993), p. 193, ill. on cover (color) and table of contents.
Michael Kimmelman. "At the Met with Elizabeth Murray: Looking for the Magic in Painting." New York Times (October 21, 1994), p. C28, ill.
Edward Snow. A Study of Vermeer. rev., enl. ed. Berkeley, 1994, pp. xi, 61, 104, 116, 139, 161, 164, 168 n. 5, p. 183 n. 16, pp. 212–13 nn. 11, 22, colorpl. 62.
Seymour Slive. Dutch Painting 1600–1800. New Haven, 1995, pp. 145, 148, fig. 188.
Arthur K. Wheelock. "The Story of Two Vermeer Forgeries." Shop Talk: Studies in Honor of Seymour Slive. Ed. Cynthia P. Schneider et al. Cambridge, Mass., 1995, p. 273.
Arthur K. Wheelock Jr. and Ben Broos inJohannes Vermeer. Exh. cat., National Gallery of Art. Washington, 1995, pp. 140, 146–51, 166, no. 11, ill. (color; overall and detail), fig. 2 (infrared reflectogram), and back cover of dust jacket (color).
Arthur K. Wheelock Jr. inJohannes Vermeer. Exh. cat., National Gallery of Art. Washington, 1995, p. 25, fig. 11 (color detail).
Albert Blankert inJohannes Vermeer. Exh. cat., National Gallery of Art. Washington, 1995, p. 40.
Ben Broos inJohannes Vermeer. Exh. cat., National Gallery of Art. Washington, 1995, p. 61.
Arthur K. Wheelock Jr. Vermeer & the Art of Painting. New Haven, 1995, pp. 104–11, figs. 75 (color), 76 (infrared reflectograms), 77, 78, 79 (color details), A19.
Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 334, ill. p. 335.
Kees Zandvliet inThe Scholarly World of Vermeer. Exh. cat.Zwolle, The Netherlands, 1996, p. 75, ill. opp. p. 75 (detail).
Mariët Westermann. A Worldly Art: The Dutch Republic 1585–1718. New York, 1996, pp. 39, 83, fig. 21 (color).
Erik Larsen. Jan Vermeer: Catalogo completo. Florence, 1996, pp. 18, 33, 98–99, no. 9, ill. pp. 58–60 (color, overall and details).
Wayne Franits inThe Dictionary of Art. Ed. Jane Turner. Vol. 32, New York, 1996, pp. 263, 265, fig. 2.
Michael Kimmelman. "At the Met with Wayne Thiebaud: A Little Weirdness Can Help an Artist." New York Times (August 23, 1996), p. C25, ill.
Michael Kimmelman. "At the Met with Chuck Close: Sought or Imposed, Limits Can Take Flight." New York Times (July 25, 1997), p. C23.
Arthur K. Wheelock Jr. Vermeer: The Complete Works. New York, 1997, p. 38, colorpl. 17.
Svetlana Alpers. "Picturing Dutch Culture." Looking at Seventeenth-Century Dutch Art: Realism Reconsidered. Ed. Wayne [E.] Franits. Cambridge, 1997, p. 66, fig. 41, ill. on cover (color).
Walter Liedtke. "Style in Dutch Art." Looking at Seventeenth-Century Dutch Art: Realism Reconsidered. Ed. Wayne Franits. Cambridge, 1997, pp. 126–27, ill. on cover (color).
Nicola Costaras. "A Study of the Materials and Tecniques of Johannes Vermeer." Vermeer Studies. Ed. Ivan Gaskell and Michiel Jonker. Washington, 1998, pp. 150, 155–57, 165, 167.
Jørgen Wadum. "Contours of Vermeer." Vermeer Studies. Ed. Ivan Gaskell and Michiel Jonker. Washington, 1998, pp. 205, 209.
Irene Netta. "The Phenomenon of Time in the Art of Vermeer." Vermeer Studies. Ed. Ivan Gaskell and Michiel Jonker. Washington, 1998, p. 262.
Marieke de Winkel. "The Interpretation of Dress in Vermeer's Paintings." Vermeer Studies. Ed. Ivan Gaskell and Michiel Jonker. Washington, 1998, p. 329.
Michael Kimmelman. Portraits: Talking with Artists at the Met, the Modern, the Louvre and Elsewhere. New York, 1998, pp. 25–26, 171, 244–45, ill. [text similar to Kimmelman 1994, 1996, 1997].
Jean Strouse. Morgan: American Financier. New York, 1999, pp. 563, 611.
Ivan Gaskell. Vermeer's Wager: Speculations on Art History, Theory and Art Museums. London, 2000, p. 177.
Walter Liedtke. A View of Delft: Vermeer and his Contemporaries. Zwolle, The Netherlands, 2000, pp. 18, 132, 191, 202, 207, 213, 217, 220, 226–28, 233, 238, 242, 289 n. 64, colorpl. XXVI and fig. 282, affirms a date of about 1661–62.
Walter A. Liedtke inThe Oxford History of Western Art. Ed. Martin Kemp. New York, 2000, p. 245, ill. (color).
H. Perry Chapman. "Women in Vermeer's Home: Mimesis and Ideation." Nederlands Kunsthistorisch Jaarboek 51 (2000), pp. 238, 251–52, 254–55, 257, 263–65, 267, fig. 13.
Walter Liedtke et al. Vermeer and the Delft School. Exh. cat., The Metropolitan Museum of Art. New York, 2001, pp. 112, 117, 156, 158, 161–62, 164–65, 362, 365, 379–81, 383, no. 71, ill. (color).
Wayne E. Franits inThe Cambridge Companion to Vermeer. Ed. Wayne E. Franits. Cambridge, 2001, p. 21, pl. 18.
Philip Steadman. Vermeer's Camera. Oxford, 2001, pp. 133, 168–69, 193–94 n. 8, fig. 28 (diagram of window).
Christiane Hertel. "Seven Vermeers." The Cambridge Companion to Vermeer. Ed. Wayne E. Franits. Cambridge, 2001, p. 153.
Arthur K. Wheelock Jr. and Marguerite Glass. "The Appreciation of Vermeer in Twentieth-Century America." The Cambridge Companion to Vermeer. Ed. Wayne E. Franits. Cambridge, 2001, pp. 167–68, 216 n. 21.
Philip Leider. "Vermeer & Hopper." Art in America 89 (March 2001), p. 100, ill. p. 99 (color).
Anthony Bailey. Vermeer: A View of Delft. New York, 2001, pp. 131, 133, ill. p. 145.
Axel Rüger. Vermeer and Painting in Delft. London, 2001, pp. 59–60, fig. 50 (color).
Bryan Jay Wolf. Vermeer and the Invention of Seeing. Chicago, 2001, p. 71, fig. 28 (detail).
Alejandro Vergara. Vermeer y el interior holandés. Exh. cat., Museo Nacional del Prado. Madrid, 2003, pp. 170, 172, 174, 253–54, no. 34, ill. p. 171 (color) and on cover (color detail).
Mariët Westermann inVermeer y el interior holandés. Exh. cat., Museo Nacional del Prado. Madrid, 2003, pp. 82, 85, 87, 228, 230–31.
Robert D. Huerta. Giants of Delft: Johannes Vermeer and the Natural Philosophers . . . Lewisburg, Pa., 2003, pp. 47, 50, 66, 90, 92, 95, 99, 139 n. 62, ill. p. 70.
Wayne Franits. Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution. New Haven, 2004, pp. 170, 172, 235, 287 n. 75, p. 288 n. 85, fig. 156 (color) and ill. p. 258 (color detail).
Everhard Korthals Altes inSenses and Sins: Dutch Painters of Daily Life in the Seventeenth Century. Ed. Jeroen Giltaij. Exh. cat., Museum Boijmans Van Beuningen. Ostfildern-Ruit, Germany, 2004, p. 248, under no. 68, calls the composition closely related to "Woman With a Lute" (MMA 25.110.24).
Epco Runia and Peter van der Ploeg. Vermeer in the Mauritshuis. Zwolle, The Netherlands, 2005, p. 12, no. 3, ill. (color).
Robert D. Huerta. Vermeer and Plato: Painting the Ideal. Lewisburg, Pa., 2005, pp. 54, 89, 94–95, 98, 110, 131 n. 35.
Pierre Rosenberg. Only in America: One Hundred Paintings in American Museums Unmatched in European Collections. Milan, 2006, ill. p. 118.
Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), pp. 3, 11–12, 28, 68, 70–71, figs. 8 (color), 82 (color, MMA Vermeer gallery photograph) and frontispiece (color detail).
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. ix–x, 39 n. 8, p. 64 n. 9, p. 366; vol. 2, pp. 866, 870, 877–84, no. 203, colorpl. 203 and frontispiece (color).
Pierre Le Coz and Pierre-Éric Laroche. Vermeer ou l'action de voir. Brussels, 2007, pp. 96–97.
Peter C. Sutton. Vermeer and the Delft Style. Exh. cat., Tokyo Metropolitan Art Museum. [Tokyo], 2008, pp. 70–71, fig. 16 (color).
Walter Liedtke. Vermeer: The Complete Paintings. Antwerp, 2008, pp. 20, 22, 36, 43, 45, 47–48, 71–72, 87–88, 98–102, 108, 113, 115, 118, 123, 127, 138, 195, no. 13, ill. (color, overall and detail) and fig. 38 (color detail).
Walter Liedtke. "The Milkmaid" by Johannes Vermeer. Exh. cat., The Metropolitan Museum of Art. New York, 2009, pp. 5–7, 21, 31–32, 34, no. 7, colorpl. 7.
Karen Rosenberg. "A Humble Domestic Crosses the Sea." New York Times (September 11, 2009), p. C29, ill. (color).
Leo J. O'Donovan. "An Eternal Now: Vermeer at the Met." Commonweal 136 (October 23, 2009), p. 26, ill. p. 25 (color).
Nils Büttner. Vermeer. Munich, 2010, pp. 31–32, 44, fig. 2.
H. Perry Chapman inVermeer's Women: Secrets and Silence. Exh. cat., Fitzwilliam Museum, Cambridge. New Haven, 2011, pp. 67–68, 79–80, 82, 85, 89, 91, 112, 118, colorpl. 48.
Walter Liedtke inVermeer: il secolo d'oro dell'arte olandese. Exh. cat., Scuderie del Quirinale. Milan, 2012, pp. 43–44, 47, 53, fig. 14 (color).
Jeroen Giltaij inVermeer and Rembrandt: The Masters of the 17th Century Dutch Golden Age. Exh. cat., Kyoto Municipal Museum of Art. Tokyo, 2015, pp. 6–7, 18.
Masato Ozaki inVermeer and Rembrandt: The Masters of the 17th Century Dutch Golden Age. Exh. cat., Kyoto Municipal Museum of Art. Tokyo, 2015, p. 31.
Betsy Wieseman et al. inVermeer and Rembrandt: The Masters of the 17th Century Dutch Golden Age. Exh. cat., Kyoto Municipal Museum of Art. Tokyo, 2015, pp. 119, 144, 146–47, 195, no. 48, ill. pp. 118, 142–43, 145, 147, and dust jacket cover (color, overall and details).
Taco Dibbits inVermeer and Rembrandt: The Masters of the 17th Century Dutch Golden Age. Exh. cat., Kyoto Municipal Museum of Art. Tokyo, 2015, pp. 172, 174, under nos. 57–58.
Karl Schütz. Vermeer: The Complete Works. Cologne, 2015, pp. 78, 80–81, 83, 161, 164, 210, 225–26, 228–229, 231, 237, 239, no. 14, ill. pp. 112–13, 115, 226 (color, overall and detail), dates it about 1662–64.
Kathryn Calley Galitz. The Metropolitan Museum of Art: Masterpiece Paintings. New York, 2016, p. 290, no. 243, ill. pp. 142–43, 237, 290 (color, overall and detail).
Adriaan E. Waiboer inVermeer et les maîtres de la peinture de genre. Exh. cat., Musée du Louvre. Paris, 2017, pp. 41–42 n. 36, p. 276.
Old Masters. Christie's, New York. October 31, 2017, unpaginated, under no. 40.
Esmée Quodbach. "Collecting Old Masters for New York: Henry Gurdon Marquand and The Metropolitan Museum of Art." Journal of Historians of Netherlandish Art 9 (Winter 2017), fig. 5 (color) [DOI: 10.5092/jhna.2017.9.1.2].
Caroline Elam. Roger Fry and Italian Art. London, 2019, p. 105.
Andrea Bayer, Barbara Drake Boehm, and Daniëlle O. Kisluk-Grosheide. "Princely Aspirations." Making The Met, 1870–2020. Exh. cat., The Metropolitan Museum of Art. New York, 2020, pp. 82, 261 n. 37.
Associate Museum Librarian for Instruction, French and Italian Bibliographer, and Online Resources Deborah Vincelli discusses some notable early Met collection catalogues in Thomas J. Watson Library.
Assistant Curator Adam Eaker welcomes readers to In Praise of Painting: Dutch Masterpieces at The Met, a new exhibition that expands the narrative of one of the most celebrated chapters in art history.
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
