This canvas depicts an artist painting a woman dressed in blue posing as a model in his studio. The subject is standing by a window and a large map of the
Low Countries hangs on the wall behind. It is signed to the right of the girl "I [Oannes] Ver. Meer", but not dated. Most experts assume it was executed sometime between 1665/1668, but some suggest the work could have been created as late as 1670–1675. In 1663 Vermeer had been visited by
Balthasar de Monconys, but had no painting to show, so it was possibly done "in order to have an outstanding specimen of his art in his studio." Vermeer obviously liked the painting; he never sold it during his lifetime. According to Alpers "it stands as a kind of summary and assessment of what has been done."
Elements using a
maulstick. The painting has only two figures, the painter and his subject, a woman with downcast eyes. The painter was thought to be a self-portrait of the artist;
Jean-Louis Vaudoyer suggested the young woman could be his daughter. The painter sits in front of the painting on the easel, where you can see the sketch of the crown. He is dressed in an elegant black garment with cuts on the sleeves and on the back that offers a glimpse of the shirt underneath. He has short puffy breeches and orange stockings, an expensive and fashionable garment that is also found in other works of the time, as in a well-known self-portrait by Rubens. The tapestry and the chair, both
repoussoirs, lead the viewer into the painting. As in
The Allegory of Faith, the ceiling can be seen. Experts attribute
symbols to various aspects of the painting. A number of the items, a
plaster mask, perhaps representing the debate on
paragone, the presence of a piece of cloth, a
folio, and some leather on the table have been linked to the symbols of
Liberal Arts. The representation of the marble tiled floor and the splendid golden chandelier are examples of Vermeer's craftsmanship and show his knowledge of
perspective. Each object reflects or absorbs light differently, getting the most accurate rendering of material effects. '' by Visscher (1611) The map, remarkable for the representation of light on it, shows the
Seventeen Provinces of the Netherlands, flanked by 20 views of prominent Dutch cities. It was published by
Claes Janszoon Visscher in 1636. This map, but without the city views on the left and right can be seen on paintings by
Jacob Ochtervelt and
Nicolaes Maes. Similar maps were found in the
Bibliothèque Nationale in Paris and in the Swedish
Skokloster. In the top left of the map two women can be seen; one bearing a
cross-staff and compasses, while the other has a palette, brush, and a city view in the hand.
Symbolism and allegory Vermeer had a theoretical interest for painting. The subject is presumed to be
Fama,
Pictura, or
Clio, the
Muse of
History, evidenced by her wearing a
laurel wreath, holding a
trumpet, possibly carrying a book by
Herodotus or
Thucydides, which matches the description in
Cesare Ripa's 16th century book on
emblems and personifications entitled
Iconologia. However, according to Ripa History should look back and not down as in this painting. Following Vermeer's contemporary
Gerard de Lairesse, interested in
French Classicism and Ripa, there is another explanation; he mentions history and poetry as the main resources of a painter. The woman in blue could be representing poetry, pointing to
Plutarch who observed that "
Simonides calls painting silent poetry and poetry painting that speaks", later paraphrased by the Latin poet
Horace as
ut pictura poesis. If so, the map is representing history. The
double-headed eagle, symbol of the Habsburg
Holy Roman Empire, which possibly adorns the central golden
chandelier, may represent the former rulers of the Low Countries. The large map on the back wall has a prominent
crease that divides the Seventeen Provinces into the north and south. (West is at the top of the map.) The crease may symbolize the division between the
Dutch Republic to the north and
southern provinces under Habsburg rule. The map shows the earlier political division between the
Union of Utrecht to the north, and the loyal provinces to the south. This interpretation might have appealed to Hitler who owned the painting during the war. According to Liedtke a political interpretation of the map and the
Habsburg eagle is unconvincing; they overlook other motives. File:Johannes Vermeer - The Art of Painting (detail) - WGA24678.jpg|A theorized double eagle on top the chandelier ==Provenance==