"Study of a Young Woman Study of a Young Woman (also known as Portrait of a Young Woman, or Girl with a Veil) is a painting by the Dutch artist Johannes Vermeer, completed between 1665 and 1667, and now in the Metropolitan Museum of Art, New York. The painting was painted around the same time as the better-known ""Girl with a Pearl Earring"", and has a near-identical size. Because of this, and its proximity in tone and composition, it is sometimes considered to be either a variant or pendant painting (counterpart) of ""Girl with a Pearl Earring"". The subjects of"
"in his other portraits such as ""Portrait of a Young Woman"" and ""Girl with a Pearl Earring"". There is a prominent usage of pearls on the mistress in this painting. Pearls were an important status symbol of the period and that was reflected in the mistress' fancy attire and her abundance of pearls. A prevalent theme in Vermeer's paintings from around the late 1660s is letter writings. In earlier works, there is one woman isolated with a letter, but in this painting the added maid is a new element. This gives the painting a sense of anxiousness between the two"
"Young Woman in a Pearl Necklace (New York City) Young Woman in a Pearl Necklace (after 1655) is an oil on canvas painting by an unknown painter, after a painting by the Dutch painter Willem Drost. It is an example of Dutch Golden Age painting and is part of the collection of the Metropolitan Museum of Art. The woman is looking at the viewer and is wearing a red bodice that is slightly open to reveal a pearl necklace. This painting was documented in 1914 by Hofstede de Groot as a Rembrandt. It had just been acquired the year before"
"Young Woman in a Pearl Necklace Young Woman in a Pearl Necklace (circa 1654) is an oil on canvas painting by the Dutch painter Willem Drost. It is an example of Dutch Golden Age painting and is part of the collection of Gemäldegalerie Alte Meister. The woman is looking at the viewer and is wearing a red bodice that is slightly open to reveal a pearl necklace. This painting was documented in 1914 by Hofstede de Groot as a copy of a Rembrandt in the collection of the Metropolitan Museum of Art. That painting had just been acquired the year"
"was attributed to ""Bernaert Fabritius"", the attribution for this one should be ""after Bernaert Fabritius"". Valentiner had it his way, but not before Hofstede de Groot had died. The attribution was changed in December 1937 to Bernaert Fabritius and stayed that way for over half a century until Walter Liedtke officially changed it to ""Copy after Willem Drost"" in 1991. Young Woman in a Pearl Necklace (New York City) Young Woman in a Pearl Necklace (after 1655) is an oil on canvas painting by an unknown painter, after a painting by the Dutch painter Willem Drost. It is an example"
"pearl. On her hair is a cap. Painted about 1658. A copy is in the Dresden Gallery, 1908 catalogue, No. 1591, as the work of Bernaert Fabritius. Mentioned by Hofstede de Groot, ""Onze Kunst"", 1999, p. 181. In the possession of L. Lesser, London. In the possession of Duveen Brothers, London. In the collection of B. Altman, New York; bequeathed in 1913 to the Metropolitan Museum. In the Metropolitan Museum, New York. "" Today, the attribution to Fabritius has been dropped and this painting is considered an authentic painting by Drost, while the MET's painting is now considered a period"
"copy of this painting: The model appears to be the same woman as in other Drost paintings: Young Woman in a Pearl Necklace Young Woman in a Pearl Necklace (circa 1654) is an oil on canvas painting by the Dutch painter Willem Drost. It is an example of Dutch Golden Age painting and is part of the collection of Gemäldegalerie Alte Meister. The woman is looking at the viewer and is wearing a red bodice that is slightly open to reveal a pearl necklace. This painting was documented in 1914 by Hofstede de Groot as a copy of a Rembrandt"
"Portrait of a Woman Wearing a Gold Chain Portrait of a Woman Wearing a Gold Chain is a 1634 portrait painted by Rembrandt. It shows a smiling woman with a triple lace collar. It is in the collection of the Museum of Fine Arts, Boston. Several oval portraits of a woman of 17th-century Amsterdam have survived, and sometimes these were pendants and sometimes they were individual portraits. This painting, as well as its pendant, has been attributed to Rembrandt since the 19th-century, but doubts have been raised by the Rembrandt Research Project. This painting came into the collection via Mrs."
"anniversary of the painter's birth. The Girl in a Picture Frame The Girl in a Picture Frame is a 1641 oil on panel painting by the Dutch artist Rembrandt. It is also known as ""The Jewish Bride"" and ""The Girl in a Hat"". With ""The Scholar at the Lectern"" and ""Landscape with the Good Samaritan"", it is one of only three Rembrandt paintings in Polish collections. Its provenance has sometimes been questioned, but was confirmed in 2006. Stanisław August Poniatowski bought it and ""The Scholar at the Lectern"" in 1777 from Countess Maria Golovkina (widow of Count Friedrich Paul von"
"had belonged to the Van Ruijvens, who had built up a large collection of paintings by Vermeer, three by Emanuel de Witte, four by Simon de Vlieger and one by Jan Porcellis. He is depicted as a predatory lecher in Tracy Chevalier's historical novel ""Girl with a Pearl Earring"" (1999), although there is absolutely no evidence of this. The 2003 film of the book also follows this characterization. Pieter van Ruijven Pieter Claesz. van Ruijven (Delft, 1624 – Delft, August 7, 1674) is best known as Johannes Vermeer's patron for the better part of the artist's career. Van Ruijven was"
"La Perla (painting) La Perla (literally ""The Pearl"") is a 1518-1520 oil on canvas painting by Giulio Romano, based on a drawing by Raphael. It shows the Madonna and Child with John the Baptist, St Elisabeth and in the background St Joseph. It is now in the Museo del Prado. It is quite badly damaged and from Giovanni Battista Cavalcaselle onwards it is held to have been painted by Romano after Raphael's death using sketches made by the latter artist - others argue it was painted around 1518. Part of another version has recently been found in the galleria Estense"
"Great Britain in 1627 and after his execution it was bought at auction by Philip V of Spain, who gave it its current name, since he saw it as ""the pearl"" of his collection. It was taken to Paris in 1813 by Joseph Bonaparte and it remained there until 1815. La Perla (painting) La Perla (literally ""The Pearl"") is a 1518-1520 oil on canvas painting by Giulio Romano, based on a drawing by Raphael. It shows the Madonna and Child with John the Baptist, St Elisabeth and in the background St Joseph. It is now in the Museo del Prado."
"Holland with flat collars from the same period are: Portrait of a Woman Wearing a Gold Chain Portrait of a Woman Wearing a Gold Chain is a 1634 portrait painted by Rembrandt. It shows a smiling woman with a triple lace collar. It is in the collection of the Museum of Fine Arts, Boston. Several oval portraits of a woman of 17th-century Amsterdam have survived, and sometimes these were pendants and sometimes they were individual portraits. This painting, as well as its pendant, has been attributed to Rembrandt since the 19th-century, but doubts have been raised by the Rembrandt Research"
"The Girl in a Picture Frame The Girl in a Picture Frame is a 1641 oil on panel painting by the Dutch artist Rembrandt. It is also known as ""The Jewish Bride"" and ""The Girl in a Hat"". With ""The Scholar at the Lectern"" and ""Landscape with the Good Samaritan"", it is one of only three Rembrandt paintings in Polish collections. Its provenance has sometimes been questioned, but was confirmed in 2006. Stanisław August Poniatowski bought it and ""The Scholar at the Lectern"" in 1777 from Countess Maria Golovkina (widow of Count Friedrich Paul von Kameke) via the art dealer"
"d'Arenberg by Mr. Charles Wrightsman and Mrs. Jayne Wrightsman of New York for a sum estimated at around £125,000. In 1979, the Wrightsmans donated the picture to the Metropolitan Museum of Art in memory of curator Theodore Rousseau, Jr. Study of a Young Woman Study of a Young Woman (also known as Portrait of a Young Woman, or Girl with a Veil) is a painting by the Dutch artist Johannes Vermeer, completed between 1665 and 1667, and now in the Metropolitan Museum of Art, New York. The painting was painted around the same time as the better-known ""Girl with a"
"double string of pearls ; on both arms are strings of pearls and a ruby bracelet ; there are pearls in her ears. She has dull fair curly hair and a fresh complexion. The light falls from the left foreground. Painted about 1633. [Possibly pendant to 736.] Canvas, 50 1/2 inches by 40 inches. Mentioned by Bode, p. 459 ; Dutuit, p. 46 ; Michel, p. 559 [433]. Exhibited at the British Institution, London, 1822, No. 13 ; at the Royal Academy Winter Exhibition, London, 1899, No. 55. In the collection of Lord Leconfield, Petworth."" The painting was included in"
"Woman with a Lute Woman with a Lute, also known as Woman with a Lute Near a Window, is a painting created about 1662–1663 by Dutch painter Johannes Vermeer and now at the Metropolitan Museum of Art in New York. The painting depicts a young woman wearing an ermine-trimmed jacket and enormous pearl earrings as she eagerly looks out a window, presumably expecting a male visitor. ""A musical courtship is suggested by the viola da gamba on the floor in the foreground and by the flow of songbooks across the tabletop and onto the floor,"" according to a web page"
"Egyptian Woman with Earrings Egyptian Woman with Earrings is a late 19th century painting by American artist John Singer Sargent. Done in oil on canvas, the work portrays an Egyptian woman. The painting is in the collection of the Metropolitan Museum of Art in New York. Sargent made a trip to Egypt, Greece and Turkey as part of a project to explore the origin of Western religion through art. This picture and a companion one, ""Egyptian Woman"", also in the Met's collection, were amongst his output on the trip. The work is on view at the Metropolitan Museum's Galley 774."
"Egyptian Woman with Earrings Egyptian Woman with Earrings is a late 19th century painting by American artist John Singer Sargent. Done in oil on canvas, the work portrays an Egyptian woman. The painting is in the collection of the Metropolitan Museum of Art in New York. Sargent made a trip to Egypt, Greece and Turkey as part of a project to explore the origin of Western religion through art. This picture and a companion one, ""Egyptian Woman"", also in the Met's collection, were amongst his output on the trip. The work is on view at the Metropolitan Museum's Galley 774."
"Lucretia (Rembrandt, 1666) Lucretia is a 1666 history painting by the Dutch Golden Age painter Rembrandt in the collection of the Minneapolis Institute of Art. This painting was documented by Hofstede de Groot in 1915, who wrote:""220. LUCRETIA. Dut. 115 ; Wb. 267. She has a dagger in her right hand, and holds a cord in her left hand. ""Of nobler composition and greater breadth of light than is usual in Rembrandt ; at the same time the treatment is of singular breadth and spirit"" (Waagen). Dated 1666. In the Wombwell collection, London, 1854 (Waagen, ii. 308).<br> 220a. Lucretia with"
"Woman with a Pearl Necklace in a Loge Woman with a Pearl Necklace in a Loge (or Lydia in a Loge) is an 1879 painting by American artist Mary Cassatt. The Philadelphia Museum of Art acquired the painting in 1978 from the bequest of Charlotte Dorrance Wright. The style in which it was painted and the depiction of shifting light and color was influenced by Impressionism. This painting shows a view of the modern woman and is similar in style to Degas. This oil on canvas painting is 32 x 23 1/2 inches (81.3 x 59.7 cm). The painting shows"
"Portrait of Petronella Buys Portrait of Petronella Buys (1610–1670) is a 1635 portrait painting painted by Rembrandt. It shows a young woman with a very large and impressive millstone collar. It is in a private collection. Several oval portraits of a woman of 17th-century Amsterdam have survived, and sometimes these were pendants and sometimes they were individual portraits. This painting, with its pendant, has been attributed to Rembrandt since the 19th century, though this attribution was called into question by Bob Haak and subsequently rejected by the Rembrandt Research Project in 1989. This painting was painted as a wedding pendant,"
"Young Woman with a Lapdog Young Woman with a Lapdog is a c. 1665 painting of an unknown young woman by Rembrandt. It is now in the Art Gallery of Ontario, to which it was bequeathed in 1955 by the philanthropist Frank Peter Wood. It was previously identified as Rembrandt's daughter-in-law Magdalena van Loo (1641–1669), but the subject is now held to be unknown. X-radiographs reveal significant changes to the bottom half of the painting as Rembrandt explored lighting and color. According to Ernst van de Wetering, this aspect of the work reveals ""the 'Late Rembrandt' at his best"". The"
"painting is not signed, but may have been before later overpainting. Young Woman with a Lapdog Young Woman with a Lapdog is a c. 1665 painting of an unknown young woman by Rembrandt. It is now in the Art Gallery of Ontario, to which it was bequeathed in 1955 by the philanthropist Frank Peter Wood. It was previously identified as Rembrandt's daughter-in-law Magdalena van Loo (1641–1669), but the subject is now held to be unknown. X-radiographs reveal significant changes to the bottom half of the painting as Rembrandt explored lighting and color. According to Ernst van de Wetering, this aspect"
"Oval Portrait of a Woman (Rembrandt, New York) Oval Portrait of a Woman is a 1633 portrait painting painted by Rembrandt. It shows a woman with a millstone collar and diadem cap. It is in the collection of the Metropolitan Museum of Art. Several oval portraits of woman of 17th-century Amsterdam have survived, and sometimes these were pendants and sometimes they were individual portraits. This painting has been attributed to Rembrandt since the 19th-century, but the name of the sitter is unknown. This painting came into the collection via the Benjamin Altman bequest. This painting was documented by Hofstede de"
"paintings were described as ""tronies"" in the Dissius auction of 1696, perhaps including the ""Girl with a Pearl Earring"" and the Washington """". Frans Hals also painted a number of tronies, which are now among his best-known works, including the two tronies known as ""Malle Babbe"" and the ""Gypsy Girl"" (see gallery). Adriaen Brouwer was one of the most successful practitioners of the genre as he had a talent for expressiveness. His work gave a face to lower-class figures by infusing their images with recognizable and vividly expressed human emotions—anger, joy, pain, and pleasure. His ""Youth Making a Face"" (c."
"A Lady Writing a Letter A Lady Writing a Letter (also known as A Lady Writing; ) is an oil painting attributed to 17th century Dutch painter Johannes Vermeer. It is believed to have been completed around 1665. The Lady is seen to be writing a letter and has been interrupted, so gently turns her head to see what is happening. She wears twelve pearls (10 on the necklace and two earrings). Many of the objects seen in the painting, such as the woman's coat, the cloth on the table, and the string of pearls, also appear in other Vermeer"
"collection of Baron de Seilliere, Paris. In the collection of the Princesse de Sagan, Paris; who sold it in 1891 to Cottier. In the possession of the New York dealer Cottier. In the collection of Frederick Ames, Boston, whose widow gave it to the Museum in 1893. In the Boston Museum."" This painting was donated along with its pendant: Her flat lace collar in layers is the style that existed in the 1630s and 1640s alongside the style of millstone collars. Compare Rembrandt's ""Oval Portrait of a Woman"" from the same period. Other notable oval portraits of women of North"
"cool dampness of the room and the starchy linen of the maid's white cap, touch her sculptural shoulders and corseted waist. She is not an apparition or abstraction. She is not the ideal, worldly housewife of Vermeer's later ""Young Woman with a Water Pitcher"" or the ethereal beauty in ""Girl with a Pearl Earring"". She is not the cartoonish buxom vixen in Leyden's drawing. She is real — as real as a painting can get anyway."" This painting has ""perhaps, the most brilliant color scheme of his oeuvre"", according to the Essential Vermeer website. Already in the 18th century, English"
"time this painting was dated 1640, but the striking similarity of his face with the version from 1627 and especially his dress has recently led art historians to conclude that this painting was probably a wedding pendant. He married Cunera van Baersdorp (Leiden 1600-Haarlem 1640), who was the daughter of a mayor of Leiden, on 22 April 1625 and this portrait probably dates from that time, as does his wife's pendant. They were married exactly a half year after Cunera's mother died. That explains the bride's wedding dress in half mourning (a black skirt, white gloves and black and white"
"used for it as was common for collars of the nobility in 17th-century Amsterdam. Portrait of a Woman, probably a Member of the Van Beresteyn Family Portrait of a Woman, possibly a member of the Beresteyn family is a 1632 portrait painting by Rembrandt. It shows a woman with an unusually large millstone collar, pendant to ""Portrait of a Man, probably a Member of the Van Beresteyn Family"". It is in the collection of the Metropolitan Museum of Art. Rembrandt created this painting as a pendant to the MET's portrait of a man, probably as a wedding pendant. Only a"
"Paris Salon of 1882. The work is on view at the Metropolitan Museum, Gallery 771. Lady with the Rose (Charlotte Louise Burckhardt) Lady with the Rose (Charlotte Louise Burckhardt) is an 1882 painting by John Singer Sargent. It is part of the collection of the Metropolitan Museum of Art in New York City. The subject of the painting was the twenty-year-old daughter of a Swiss merchant, members of the artist’s cosmopolitan circle in Paris. The monochromatic tones and emphasis on the figure’s silhouette are reminiscent of the style of the Spanish painter Diego Velázquez, whose work Sargent had been encouraged"
"Rembrandt studio. Portrait of a Young Man with a Golden Chain Portrait of a Young Man with a Gold Chain is an oil painting usually attributed to the Dutch painter Rembrandt. Signed and dated 1635, it was traditionally regarded as a self-portrait (under the title Self-Portrait with Beard Rising or Self-Portrait with a Gold Chain), although contemporary criticism tends to challenge this hypothesis. The accreditation of this work to Rembrandt is old and supported by various documents and graphic records dating back to the seventeenth century. However, a report by the Rembrandt Research Project in 1989 assigned it to the"