Royal Collection Trust Palácio de Buckingham Londres Inglaterra
OST - 74x64 - 1662
The Music
Lesson, Woman Seated at a Virginal or A Lady at the Virginals
with a Gentleman by Johannes Vermeer is a painting of a young female pupil
receiving a music lesson from a man. The man's
mouth is slightly agape giving the impression that he is singing along with the
music that the young girl is playing. This suggests that there is a
relationship between the two figures and the idea of love and music being
bridged together. This was a common theme among Netherlandish art in this time
period. Vermeer uses linear perspective and his invention of the camera
pictura to create the illusion of space and depth within the setting of
the painted room. Vermeer consistently used the same objects within his
paintings such as the draped rug, the white water jug, various instruments,
tiled floor and windows that convey light and shadows. This is one of few
paintings produced by Vermeer which were kept in his home until his death in
1675 when his family was forced to sell them. It became a part of the Royal Collection, and it is currently on display in the
Picture Gallery at Buckingham Palace in London.
The picture
was sold in May 1696 in Delft, part of the collection of Jacob Dissous, which included many Vermeers. It was later
acquired by Venetian artist Giovanni Antonio Pellegrini in
1718, with Pellegrini's collection later being bought by Joseph Smith. The
Music Lesson has been part of the Royal Collection of Great Britain since 1762, when King George III bought
Smith's collection of paintings. When the painting was acquired it was
believed to be a work by Frans van Mieris the
elder because of a misinterpretation of the signature. It was not correctly
attributed to Vermeer until 1866 by Théophile Thoré, though
some scholars were skeptical whether it was Vermeer or not. It has at
various times been kept at both Buckingham Palace and Windsor Castle, and is depicted in Charles Wild's Windsor Castle: the King's Closet, 1816, a
watercolour prepared for William Pyne's History
of the Royal Residences.
The painting
was investigated by Hermann Kühn in 1968 and there is also material on the
pigment analysis on the website of the National Gallery in London where
the painting was included in the exhibition "Vermeer and Music: The Art of Love and Leisure" in
2013. The Music Lesson is a mature work of Vermeer and his handling
of color and his choice of painting materials is but one of the aspects
proving his mastery. The painting is dominated by dark areas such as the
bluish-black floor painted in bone black with the addition of natural ultramarine.
A Lady at the
Virginal with a Gentleman entered
the Royal Collection in 1762 as a work by Frans van Mieris the Elder owing to a
misreading of the signature. Indeed, the name of the artist was not correctly
identified until 1866 by Théophile Thoré. During the late seventeenth century
the picture had been in collections in Delft, Vermeer's home town, including
that eventually sold on 16 May 1696 by Jacob Dissous which had twenty-one
paintings by the artist - the largest group of such works assembled by a single
individual. A lady at the virginal was subsequently acquired by the Venetian
artist, Giovanni Antonio Pellegrini, in 1718 either in Amsterdam or The Hague.
Pellegrini's collection was bought by Consul Joseph Smith, who in turn sold his
own collection to George III. By such a route did one of the greatest Dutch
pictures in the Royal Collection arrive and to a certain extent the initial
oversight regarding its importance has been more than adequately compensated
for by the amount of scholarly attention that it now receives.
Paintings by Vermeer - of which there are only thirty-four - are difficult to date and any chronology has to be based on an interpretation of style and complexity of composition. A Lady at the Virginals was undoubtedly painted during the 1660s, but it is not possible to be more specific, although there is at present a consensus of c.1662-4. The composition is characterised by the rigorous use of perspective to draw the eye towards the back of the room where the figures are situated - the young woman rather surprisingly seen from the back. The viewer is at first more aware of the jutting corner of the table, the chair and the bass viol than of the figures themselves, whose privacy is thereby protected. The back of the room, dominated by the virginals comparable with those made by Andreas Ruckers the Elder, is like a grid of verticals and horizontals into which the figures are carefully locked. Light is admitted through the windows on the left and fills the room, casting only soft, subtle shadows. A striking feature of the composition in this part is the mirror on the wall where the slightly blurred reflections include the young woman's face, part of the table and the legs of an artist's easel. The implication of this glimpsed easel is that Vermeer shares the same space as the figures he is depicting, but as a result of this artifice he is also, like the viewer, standing outside that space. In fact, as Alpers has observed, Vermeer's composition is based on exclusion. Many of the elements, particularly at the back of the room, are seen only partially, as though indicating “the appearance of the world as ungraspable”.
The inscription on the lid of the virginal, MUSICA LETITIAE CO[ME]S / MEDICINA DOLOR[IS], means 'Music is a companion in pleasure and a balm in sorrow.' It suggests that it is the relationship between the man and the young woman that is being explored by the artist, but what stage that relationship has reached is impossible to say. The fact that there are two musical instruments implies shared pleasures and a potential harmony, which is also indicated by the rapt expression on the man's face as he listens to the young woman or sings as she plays on the virginal. That some aspect of love is the presiding theme can be deduced not only from paintings by Vermeer's contemporaries, such as Metsu, but also by the presence in A Lady at the Virginal of the picture of Roman Charity (Cimon and Pero) by Dirck van Baburen on the wall in the background on the right. This is the story of how the imprisoned Cimon was nourished by his daughter Pero, symbolising the ideal of Christian charity both physically and spiritually. It is known that Vermeer's mother-in-law, Maria Thins, owned such a painting and Vermeer did use another painting by this artist in the background of two of his other pictures. The vase on the table is placed below Roman Charity and so with regard to that picture may be an additional correlative for the young people in the room.
The mood of the present interior by Vermeer is created as much by the careful selection of so few objects as by the confrontation of the two figures in whose plight, in the words of Lawrence Gowing, “there rests, as gentle as the air itself, an allegory of liberty and bondage, an allegory, as the inscription informs us, of the pleasure and melancholy of love”.
Paintings by Vermeer - of which there are only thirty-four - are difficult to date and any chronology has to be based on an interpretation of style and complexity of composition. A Lady at the Virginals was undoubtedly painted during the 1660s, but it is not possible to be more specific, although there is at present a consensus of c.1662-4. The composition is characterised by the rigorous use of perspective to draw the eye towards the back of the room where the figures are situated - the young woman rather surprisingly seen from the back. The viewer is at first more aware of the jutting corner of the table, the chair and the bass viol than of the figures themselves, whose privacy is thereby protected. The back of the room, dominated by the virginals comparable with those made by Andreas Ruckers the Elder, is like a grid of verticals and horizontals into which the figures are carefully locked. Light is admitted through the windows on the left and fills the room, casting only soft, subtle shadows. A striking feature of the composition in this part is the mirror on the wall where the slightly blurred reflections include the young woman's face, part of the table and the legs of an artist's easel. The implication of this glimpsed easel is that Vermeer shares the same space as the figures he is depicting, but as a result of this artifice he is also, like the viewer, standing outside that space. In fact, as Alpers has observed, Vermeer's composition is based on exclusion. Many of the elements, particularly at the back of the room, are seen only partially, as though indicating “the appearance of the world as ungraspable”.
The inscription on the lid of the virginal, MUSICA LETITIAE CO[ME]S / MEDICINA DOLOR[IS], means 'Music is a companion in pleasure and a balm in sorrow.' It suggests that it is the relationship between the man and the young woman that is being explored by the artist, but what stage that relationship has reached is impossible to say. The fact that there are two musical instruments implies shared pleasures and a potential harmony, which is also indicated by the rapt expression on the man's face as he listens to the young woman or sings as she plays on the virginal. That some aspect of love is the presiding theme can be deduced not only from paintings by Vermeer's contemporaries, such as Metsu, but also by the presence in A Lady at the Virginal of the picture of Roman Charity (Cimon and Pero) by Dirck van Baburen on the wall in the background on the right. This is the story of how the imprisoned Cimon was nourished by his daughter Pero, symbolising the ideal of Christian charity both physically and spiritually. It is known that Vermeer's mother-in-law, Maria Thins, owned such a painting and Vermeer did use another painting by this artist in the background of two of his other pictures. The vase on the table is placed below Roman Charity and so with regard to that picture may be an additional correlative for the young people in the room.
The mood of the present interior by Vermeer is created as much by the careful selection of so few objects as by the confrontation of the two figures in whose plight, in the words of Lawrence Gowing, “there rests, as gentle as the air itself, an allegory of liberty and bondage, an allegory, as the inscription informs us, of the pleasure and melancholy of love”.
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