The Milkmaid was painted by Johannes Vermeer around 1657-1658. It depicts a young woman pouring milk from a container into a bowl. Vermeer restricts the palette to primary colors and uses geometric shapes and lighting to give the scene and figure a sense of weight and realism. In the background are wall tiles depicting Cupid and another figure, as well as a foot warmer, and light streams in from a window. The painting captures realistic details while conveying a dignified atmosphere through composition.
The Milkmaid was painted by Johannes Vermeer around 1657-1658. It depicts a young woman pouring milk from a container into a bowl. Vermeer restricts the palette to primary colors and uses geometric shapes and lighting to give the scene and figure a sense of weight and realism. In the background are wall tiles depicting Cupid and another figure, as well as a foot warmer, and light streams in from a window. The painting captures realistic details while conveying a dignified atmosphere through composition.
The Milkmaid was painted by Johannes Vermeer around 1657-1658. It depicts a young woman pouring milk from a container into a bowl. Vermeer restricts the palette to primary colors and uses geometric shapes and lighting to give the scene and figure a sense of weight and realism. In the background are wall tiles depicting Cupid and another figure, as well as a foot warmer, and light streams in from a window. The painting captures realistic details while conveying a dignified atmosphere through composition.
The Milkmaid was painted by Johannes Vermeer around 1657-1658. It depicts a young woman pouring milk from a container into a bowl. Vermeer restricts the palette to primary colors and uses geometric shapes and lighting to give the scene and figure a sense of weight and realism. In the background are wall tiles depicting Cupid and another figure, as well as a foot warmer, and light streams in from a window. The painting captures realistic details while conveying a dignified atmosphere through composition.
Johannes Vermeer in about 1657–58. The small picture (18 x 16 1/8 in. [45.5 x 41 cm]) could be described as one of the last works of the Delft artist’s formative years (ca. 1654–58), during which he adopted various subjects and styles from other painters and at the same time introduced effects based on direct observation and an exceptionally rened artistic sensibility. Vermeer restricted his palette mainly to the primary colors of red, blue, and yellow, and he favored geometric shapes (in The Milkmaid, the right triangle formed by the gure and the table are balanced within the rectangle of the picture eld). A low vantage point and a pyramidal buildup of forms from the left foreground to the woman’s head lend the gure monumentality and perhaps a sense of dignity. A foot warmer is on the oor behind her, near Delft wall tiles depicting Cupid (to the viewer's left) and a gure with a pole (to the right). Intense light streams from the window on the left side of the canvas. The painting is strikingly illusionistic, conveying not just details but a sense of the weight of the woman and the table. The light, though bright, doesn't wash out the rough texture of the bread crusts or atten the volumes of the maid's thick waist and rounded shoulders Johannes Vermeer (October 1632 – December 1675), in original Dutch Jan Vermeer van Delft, was a Dutch Baroque Period painter who specialized in domestic interior scenes of middle class life. During his lifetime, he was a moderately successful provincial genre* (*depicts aspects of everyday life by portraying ordinary people engaged in common activities) painter, recognized in Delft and The Hague. Nonetheless, he produced relatively few paintings and evidently was not wealthy, leaving his wife and children in debt at his death.Vermeer worked slowly and with great care, and frequently used very expensive pigments. He is particularly renowned for his masterly treatment and use of light in his work. “Almost all his paintings," Hans Koningsberger wrote, "are apparently set in two smallish rooms in his house in Delft; they show the same furniture and decorations in various arrangements and they often portray the same people, mostly women."
(Belgian Francophone Library) Émile Verhaeren, Albert Alhadeff (Tr)-Émile Verhaeren_ Essays on the Northern Renaissance_ Rembrandt, Rubens, Grünewald and Others-Peter Lang International Academic Publi