detail of woman detail of wall detail of fruit

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St Praxedis Christ in the House of Martha and Mary Diana and Her Companions Procuress Woman Asleep Girl Reading a Letter at an Open Window Little Street
Officer and Laughing Girl Milkmaid Glass of Wine Girl with Wineglass Girl Interrupted at Her Music View of Delft Music Lesson
Woman in Blue Woman Holding a Balance Young Woman with a Water Pitcher Woman with a Lute Woman with a Pearl Necklace A Lady Writing Girl with a Pearl Earring
Concert Girl with the Red Hat Art of Painting Mistress and Maid Portrait of Young Woman The Geographer The Astronomer
Lacemaker Guitar Player Love Letter Lady Writing a Letter with Her Maid Allegory of Faith A Lady Standing at the Virginal Lady Seated at the Virginal

The transformation from a history painter to a genre painter seems not to have been easy for Vermeer. Nothing in his early works prepared him for the complex problem of orienting a figure within a realistic architectural space or depicting naturalistic light effects. Textures of materials had not been of great concern. Finally, Vermeer had to find a solution for the most vexing problem that he posed for himself: how to convey the melancholic moods of his history paintings in scenes drawn from daily life. Evidence within A Woman Asleep, Vermeer's earliest representation of a scene from contemporary life, suggests that he sought inspiration from the works of two former Rembrandt pupils, Nicolaes Maes and Carel Fabritius.

Excerpt taken from Vermeer and The Art of Painting
by Arthur K. Wheelock Jr

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