Lady Standing at a Virginal
In today's world, Lady Standing at a Virginal has become a topic of great interest and relevance in various areas of society. From the scientific to the political sphere, Lady Standing at a Virginal has captured the attention of researchers, academics, leaders and citizens in general, generating intense debate and analysis around its implications and repercussions. In this article, we will explore in detail the different facets and perspectives of Lady Standing at a Virginal, examining its impact today and possible projections for the future. From its origin to its evolution, including its effects on the present, we will delve into a complete and exhaustive analysis of Lady Standing at a Virginal, addressing its positive, negative and controversial aspects.
| Lady Standing at a Virginal | |
|---|---|
 | |
| Artist | Johannes Vermeer |
| Year | c. 1670–1672 |
| Medium | Oil on canvas |
| Movement | Dutch Golden Age painting |
| Dimensions | 51.7 cm × 45.2 cm (20.4 in × 17.8 in) |
| Location | National Gallery, London |
Lady Standing at a Virginal is a genre painting created by the Dutch artist Johannes Vermeer in about 1670–1672, now in the National Gallery, London.
Description
The oil painting depicts a richly dressed woman playing a virginal in a home with a tiled floor, paintings on the wall and some of the locally manufactured Delftware blue and white tiles of a type that appear in other Vermeer works.
The identities of the paintings on the wall are not certain, according to the National Gallery, but the landscape on the left may be by either Jan Wijnants or Allart van Everdingen. The second painting, showing Cupid holding a card, is attributed to Caesar van Everdingen, Allart's brother. This motif originated in a contemporary emblem and may either represent the idea of faithfulness to a single lover or, perhaps, reflect the presence of the virginal, the traditional association of music and love.
The painting has been dated on stylistic grounds and on the evidence of the costume. This work can be related to another Vermeer in the collection, Lady Seated at a Virginal, on a canvas of almost exactly the same size, with which it may form a pair. A recent study has shown that the canvas for the two paintings came from the same bolt. In addition, the ground applied to the canvas of each painting appears to be identical and also to be shared with the New York Young Woman Seated at the Virginals.
The painting is depicted in David Hockney's 1977 oil painting Looking at Pictures on a Screen.
See also
Further reading
- Gaskell, Ivan (2000). Vermeer's Wager: Speculations on Art History, Theory and Art Museums. Reaktion Books. ISBN 1861890729. Structured around detailed discussion of Lady Standing at a Virginal
- Liedtke, Walter A. (2001). Vermeer and the Delft School. Metropolitan Museum of Art. ISBN 978-0-87099-973-4.
References
- ^ a b "Key facts: A Young Woman standing at a Virginal". National Gallery (London) web site. Archived from the original on 2 August 2012. Retrieved 29 September 2009.
- ^ a b c "A Young Woman Standing at a Virginal". National Gallery, London web site. Retrieved 29 September 2009.
- ^ Walter Liedtke; C. Richard Johnson Jr.; Don H. Johnson. "Canvas matches in Vermeer: a case study in the computer analysis of canvas supports" (PDF). Retrieved 5 May 2013.
- ^ Sheldon, Libby; Costaras, Nicolas (2006). "Johannes Vermeer's Young Woman Seated at a Virginal". Burlington Magazine. 148: 89–97.
- ^ "Looking at Pictures on a Screen". Archived from the original on 16 June 2017. Retrieved 9 February 2017.
External links
- Essential Vermeer website. Web page on the painting
