Editor's Choice. Girl with a Flute - Johannes Vermeer was a Dutch Baroque painter who specialized in exquisite, domestic interior scenes of middle class life. FREE Returns All the time. Abstract. Benjamin Binstock, Vermeer’s Family Secrets: Genius, Discovery, and the Unknown Apprentice (New York and London, 2009), 249–257, considers this painting and Girl with a Red Hat to be self-portraits painted by Vermeer’s daughter, Maria Vermeer. The thinness of the execution on the figure’s proper right shoulder and arm is probably indicative of the level to which the painting was initially brought. Although its fipple mouthpiece is correctly indicated by the double highlight, the air hole below the mouthpiece is placed off-line. 40 as "A pendant of the same.". Unusual hatOn her head, which is slightly tilted to one side, the young woman wears an unusual hat seldom seen in seventeenth-century Dutch paintings. 5] Infrared reflectogram, Attributed to Johannes Vermeer, Girl with a Flute, probably 1665/1675, oil on panel, National Gallery of Art, Washington, Widener Collection, 1942.9.98. I actually use the EWI fingering rather than the flute fingering because the EWI fingering is similar to the flute fingering, but has a lot more alternates. Framed: 39.7 x 37.5 x 5.1 cm (15 5/8 x 14 3/4 x 2 in.) The complex issues surrounding the attribution of this little painting can be summarized as follows: the general character, appearance, and even painting techniques found in the Girl with a Flute relate closely to Vermeer’s work, specifically to the Girl with the Red Hat, but the quality of execution does not appear to be of the same high level expected from this master. The painting was treated in 1995 to remove discolored varnish and inpainting. The two works are so close in concept that one has to assume they were created at approximately the same time. Copy link. A similar opinion is held by Yvonne Brentjens, “Twee meisjes van Vermeer in Washington,” Tableau 7 (February 1985): 54–58. See details. 362. 20 × 17.8 cm. The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content. Recently Sold. Early development for toddler and baby; Children with music instruments. [6]  [6]See Technical Summary for Girl with a Flute. 25, 140–143. The Sculpture Garden is now open from 11:00 a.m. to 4:00 p.m. daily. In Tate Britain. Easy to record. John Michael Montias, Vermeer and His Milieu: A Web of Social History (Princeton, 1989), 338, doc. ); Woman Weighing Gold and Young Girl with a Flute (National Gall., Washington, D.C.); and The Concert (Gardner Mus., Boston). But, I got the “Girl with a Flute.” Rotem told us to look for the largest areas of dark and lights in our painting reproductions. [fig. Finally, the sunlit blue jackets worn by the two girls are similarly animated by numerous yellow highlights. Download. Behind each of them hangs a tapestry of which only a fragment is visible. This girl can play despacito with flute. Musical instruments often feature in Vermeer’s paintings, but this is the only time that we see a flute. ask The musings of a fashion-obsessed music student with a penchant for classical music and all things Chanel. Owners. [1] The 1683 inventory of goods accruing to Jacob Dissius after the death of his wife Magdalena van Ruijven lists twenty paintings by Vermeer. Sandra Bullock is rocking this pantsuit! Nominated for a 2003 Golden Globe, Girl with a Pearl Earring is a stunning work both in terms of structure and power and is easily one of the year's best. All girl with a flute paintings ship within 48 hours and include a 30-day money-back guarantee. Blankert restated this view in Albert Blankert, Museum Bredius: Catalogus van de schilderijen en tekeningen (The Hague, 1978), 172, and again in Gilles Aillaud, Albert Blankert, and John Michael Montias, Vermeer (Paris, 1986), 200–201. It was April and my music teacher had asked me to create a compelling composition to up my GCSE grade from a ‘Dd’ to a ‘Bb’. The dealers' records would imply so. The phrase "sold outright," however, hints that there may have been shares involved, as evidenced by Knoedler's records. Note: Exhibition history, provenance, and bibliography are subject to change as new information becomes available. Slight differences in the size of the panels, in the compositional arrangement of the figures, and in the quality of execution have led me to argue in previous publications that the paintings are not companion pieces and that the attribution of the Girl with a Flute to Vermeer could not be maintained. See Arthur K. Wheelock Jr., “Zur Technik zweier Bilder, die Vermeer zugeschrieben sind,” Maltechnik-Restauro 84 (1978): 242–257, and Arthur K. Wheelock Jr., Jan Vermeer (New York, 1981), 156, where the painting was designated “Circle of Vermeer.”. Architecture & Buildings. Hermann Kühn, “A Study of the Pigments and the Grounds Used by Jan Vermeer,” in National Gallery of Art Report and Studies in the History of Art, vol. FluteWith her left arm the girl leans on the table in front of her. Share. See Seymour Slive, “A Family Portrait by Nicolaes Maes,” Fogg Art Museum Annual Report (1957–1958): 32–39. [3]  [3]The attribution of this painting to Vermeer was first rejected by P. T. A. Swillens, Johannes Vermeer: Painter of Delft, 1632–1675 (Utrecht, 1950), 64–65. Het Meisje met de Fluit,” Onze Kunst 12 (1907): 20, who thought the painting to be a fragment. Albert Blankert, Rob Ruurs, and Willem L. van de Watering, Johannes Vermeer van Delft, 1632–1675 (Utrecht and Antwerp, 1975), 108–110, 168, considered the work to be a nineteenth-century imitation. This exhibition is part of the Google Vermeer Project. Small white brushstrokes convey the plumpness of her lips and a suggestion of teeth. Technically, examination of the panel using DendrochronologyDendrochronology A method of dating wood by examining the annual growth rings. The Girl with a Flute and the Girl with the Red Hat are so close in concept that one must assume that they were conceived at approximately the same time, most likely in the mid-to-late 1660s. Girl with a Flute is one of only two paintings attributed to Vermeer that are on panel; the other is Girl with the Red Hat. Johannes Vermeer. Bridges. The canvas will be rolled-up in a secure postal tube. Johannes Vermeer is a prominent renaissance artist depicting the classic lifestyle of the society at the time. Girl with a Flute (probably 1665-1675) Johannes Vermeer (Dutch, 1632 - 1675) Facebook Twitter Pinterest. Colorful wooden art toys. WHERE THE 8x10" PRINT IS ALWAYS FREE!...and is gallery-quality! 11:00 a.m. to 4:00 p.m. daily, East Building Arthur K. Wheelock Jr., “Johannes Vermeer/Girl with a Flute/probably 1665/1675,” Dutch Paintings of the Seventeenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/1237 (accessed April 02, 2021). From these records, it appears that the painting had left the De Grez family by 1911, since Agnew's purchased it from E. Jonas in June of that year. Possibly Pieter Claesz van Ruijven [1624-1674], Delft; possibly by inheritance to his wife, Maria de Knuijt [d. 1681]; possibly by inheritance to her daughter, Magdalena van Ruijven [1655-1682], Delft; possibly by inheritance to her husband, Jacobus Abrahamsz. Gerard ter Borch the Younger (Dutch, 1617 - 1681). Complete list of flutists characters. B. de Vries, copy in NGA curatorial files) that the hat may have been intended to suggest some “archaic or exotic characteristics.” She related it to hats seen on gypsies and shepherdesses in works by Abraham Bloemaert (1566–1651) and Karel van Mander (1548–1606). Tapestries like this are often seen lying on tables in Vermeer’s compositions, only depicted in much greater detail. 800-252-1911. Access Account Track My Order. [14]  [14]Microscopic examination of the chair finial reveals that the surface is filled with small particles of foreign matter embedded in the paint. Agnew & Sons, Ltd., London); half-share sold June 1911 to (M. Knoedler & Co., New York, and P. & D. Colnaghi, London); Agnew's half-share sold 21 November 1913 to (M. Knoedler & Co., New York);[4] Knoedler's three-quarter share sold July 1915 to (P. & D. Colnaghi, London). Not Available. The lion finial in the Girl with the Red Hat is modeled wet-into-wet by subtle variations in the weight and thickness of the strokes, whereas the finial in the Girl with a Flute does not have the same degree of articulation. Around 1830 an artificial means of producing ultramarine was invented in France, which soon supplanted the more expensive natural ultramarine in artists’ palettes. Artist William Morris 1834–1896 Medium Watercolour and graphite on paper. This letter also provides the date of sale to Joseph Widener. By the end of the 1660s, moreover, Vermeer began to create more abrupt transitions in his modeling that are not unrelated to the way in which the face in this painting is handled. While it seems that Vermeer initially blocked in the painting, which was executed in the mid-1660s, the image was extensively revised at a somewhat later date, probably by another hand. Despite such distinctions in quality it seems unadvisable to remove Girl with a Flute from Vermeer’s oeuvre, since painting techniques are similar to those in the Girl with a Red Hat and other Vermeer’s paintings. 6th St and Constitution Ave NW [1] A thin, smooth, white chalk ground was applied overall, followed by a coarse-textured gray upper ground. Natural ultramarine, one of Vermeer’s favorite pigments, is produced from the semiprecious stone lapis lazuli. John Michael Montias, Vermeer and His Milieu: A Web of Social History (Princeton, 1989), 265, note 2, proposed that “the painting was begun by Vermeer and finished after his death by an inferior painter, perhaps by Jan Coelenbier, who bought paintings from Vermeer’s widow soon after his death.” Walter Liedtke in Ben P. J. Broos et al., Great Dutch Paintings from America (The Hague and Zwolle, 1990), 43, on the other hand, defends the attribution to Vermeer. Girl With a Flute. Not only is the back of the panel beveled along all four edges, but also the paint along the edges does not appear fractured in a way that would suggest it had been trimmed. 'Girl with a flute' is a good example [of van Bijlert favoured low-life settings together with an allegorical or moralistic overlay], dressing up seventeenth-century erotica as a personification of Music. However, here it has been implemented to an extreme degree. Lead-tin yellow, another pigment frequently found in Vermeer’s paintings, was replaced by Naples yellow after the seventeenth century. The thumbnail of the girl’s ill-proportioned hand is indicated by a uniformly dense paint whereas during the mid-1660s Vermeer generally would accent only a portion of a nail with a light highlight. The Girl with a Flute depicts a young girl who is largely detached from the uncertain context of the picture. This was a popular genre in Dutch Golden Age painting. Still-wet paint in the proper right cheek and chin was textured with a fingertip, then glazed translucently. This summary of the discovery of the painting and early reactions to it is taken from Ben Broos’ account in the entry on the painting in Ben Broos and Arthur K. Wheelock Jr.. A 1234. Microscopic examination of the chair finial reveals that the surface is filled with small particles of foreign matter embedded in the paint. A paint sample taken from a yellow highlight on the girl’s left sleeve, moreover, indicates the use of seventeenth-century pigments characteristic of Vermeer’s paintings: natural ultramarine, azurite, and lead-tin yellow. Thank You! Tronies were produced for the mass market, not for specific patrons. In both paintings the young women interact directly with the viewer. As seen in the recorder hanging on the wall in a painting by, These abrupt transitions between areas are accentuated in the X-radiograph of the. 417, 420. Vermeer worked slowly and with great care, using bright colours and sometimes expensive pigments, with a preference for cornflower blue and yellow. Ivan Gaskell and Michiel Jonker (Washington, DC, 1998), 25. Jan Vermeer van Delft 020.jpg 2,482 × 2,816; 2.96 MB. Het Meisje met de Fluit,” Onze Kunst 12 (1907): 20, who thought the painting to be a fragment. Whether Montias’ hypothesis proves true, the artist who reworked Girl with a Flute certainly knew Vermeer’s paintings from the late 1660s and early 1670s, for he incorporated a number of stylistic features from this period of the artist’s career. Other alterations include the addition of the fur trim on the front of the jacket and a reduction in the size of the hat. It was an expensive pigment, prized as much for its intrinsic value as for the luminosity of its blue hue. Girl with a Flute: 1665–70: Oil on panel, 20 x 17.8 cm National Gallery of Art, Washington, D.C. A Young Woman Seated at the Virginals: c. 1670: Oil on canvas, 25.2 × … [10]  [10]Thomas Lawton, formerly assistant director, Freer Gallery of Art, Washington, DC, has been most helpful in analyzing the nature of this hat. The general character, appearance, and some of the techniques of this work relate closely to Vermeer’s other works, especially to Girl with the Red Hat. [fig. 2 years ago. 38 in the sale is described as "a tronie in antique dress, uncommonly artful"; item no. The reworkings slightly altered the woman’s pose by lowering her left shoulder and adjusting the position of the cuff. August Janssen [1863-1918], Amsterdam, after August 1916;[5] his estate; sold 1919 with the entire Janssen collection to (Jacques Goudstikker, Amsterdam);[6] purchased jointly April 1921 by (M. Knoedler & Co., New York, and Frederick Muller & Co., Amsterdam);[7] sold February 1923 to Joseph E. Widener; inheritance from Estate of Peter A. See Julius S. Held, Rembrandt’s “Aristotle” and Other Rembrandt Studies (Princeton, 1969), 11–12. [18]  [18]John Michael Montias, Vermeer and His Milieu: A Web of Social History (Princeton, 1989), 338, doc. Contemporary Paintings. Home Artists Artworks Buy About us Buy 10 paintings and get 25% + 20% off on all items. Girl with a flute wallpapers and images Download the best wallpapers, photos and pictures for your desktop for free only here a couple of clicks! About the work. FREE Shipping. The two works are so close in concept that one has to assume they were created at approximately the same time. $48.99. Boy playing the flute, girl listening Illustration from 19th century drawing of girl playing flute stock illustrations. Gleaming highlightsOn the trim of the girl’s blue jacket Vermeer added small white highlights to create the impression of fur. The National Gallery of Art serves the nation by welcoming all people to explore and experience art, creativity, and our shared humanity. [5]  [5]See Arthur K. Wheelock Jr., “Zur Technik zweier Bilder, die Vermeer zugeschrieben sind,” Maltechnik-Restauro 84 (1978): 242–257, and Arthur K. Wheelock Jr., Jan Vermeer (New York, 1981), 156, where the painting was designated “Circle of Vermeer.” Natural ultramarine, one of Vermeer’s favorite pigments, is produced from the semiprecious stone lapis lazuli. This foreign matter, whether it be dust, brush hairs, or wood splinters, is found throughout the paint. Popular Categories. It was called "Girl with a Flute" (1665-70). It lives at the National Gallery of Art, Washington in the United States. Girl with a Flute by Jan Cornelisz Verspronck (1603-1662, Netherlands) | Art Reproductions Jan Cornelisz Verspronck | WahooArt.com. On March 1, 1923, the Paris art dealer René Gimpel recorded the transaction in his diary, commenting: “It’s truly one of the master’s most beautiful works.”[2]  [2]René Gimpel, Diary of an Art Dealer, 1918–1939, trans. Benjamin Binstock, Vermeer’s Family Secrets: Genius, Discovery, and the Unknown Apprentice (New York and London, 2009), 249–257, considers this painting and Girl with a Red Hat to be self-portraits painted by Vermeer’s daughter, Maria Vermeer. 129 likes. Girl with a Flute, ca. Ships in 5-7 Days $ 26.94. Robert L. Feller, Carnegie Mellon University, found chalk with perhaps a trace of yellow ocher in the ground (see report, dated July 12, 1974, in NGA Conservation department files). A number of factors point to seventeenth-century origins for the Girl with a Flute and, indeed, relate the work intimately with Vermeer’s other paintings. This change is evident in the reflectogram [fig. See Julius S. Held, Rembrandt’s “Aristotle” and Other Rembrandt Studies (Princeton, 1969), 11–12. Indeed, this strange hat actually reinforces the argument that the origins of this painting are seventeenth-century. Despite the enthusiastic reception that this painting received after its discovery in the first decade of the twentieth century, the attribution of this work has frequently been brought into question by later scholars. Other losses exist below her left eye, between her nose and mouth, and on her cuffs and right hand. Although its fipple mouthpiece is correctly indicated by the double highlight, the air hole below the mouthpiece is placed off-line. Musical education for kids. However, this hat also appears to be covered with a striped grey material. The support is a single, vertically grained oak panel with beveled edges on the back. It seems appropriate to indicate the uncertainty surrounding the work’s attribution by designating it “Attributed to Vermeer.”. Related Categories. There he discovered, hanging high on a wall, a small picture that he surmised might be by Vermeer of Delft. – Girl with a Flute 1665-70. Unlike with portraits the models were always anonymous. 2 (Washington, DC, 1968), 194. Finally, although in both instances the girls’ blue jackets are animated with diffused yellow highlights, in the Girl with the Red Hat the diffused highlights are grouped with a certain optical logic lacking in this work. The third is a letter of 30 May 1996 from Stephen Rudge, Colnaghi, London (in NGA curatorial files), indicating that, despite the lack of a stock book record, "there is an old record card that confirms both the purchase with Knoedler and the fact that we took it over in July 1915." There is no indication that the panel has been trimmed, as was first suggested by Wilhelm Martin, “La Jeune Fille à la Flute de Vermeer de Delft,” L'Arte Flamand e Hollandais 8 (July 1907): 20–23, and Wilhelm Martin, “Jan Vermeer van Delft. 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