Research reveals Vermeer made significant changes to "The Little Street" painting
New research published Thursday reveals that Johannes Vermeer initially painted the house in The Little Street with a closed door and placed a different figure in the scene before making significant changes to the composition.
The findings are detailed in Closer to Vermeer: New Research on the Painter and His Art, a 432-page English-language book released to mark the 350th anniversary of Vermeer’s death. The study is based on extensive investigation conducted before, during, and after the 2023 Vermeer exhibition at the Rijksmuseum.
Researchers found that the woman now seated in the doorway was originally painted standing in the alley to the left of the house. Vermeer later mirrored the figure’s position. Other modifications include the addition of a red shutter on the right side of the house and children playing on the stoop.
“By literally opening the door, Vermeer made the scene accessible to the viewer,” said Pieter Roelofs, head of fine arts at the Rijksmuseum, in a press release. “These and many other new discoveries in the book paint a picture of an artist constantly perfecting his work.”
The project involved scientists, restorers, and curators from the Rijksmuseum, the Mauritshuis in The Hague, the National Gallery of Art in Washington, The Frick Collection, the Metropolitan Museum of Art in New York, the National Gallery in London, and the University of Antwerp.
The study also uncovered changes in other Vermeer paintings. In Diana and Her Nymphs (Mauritshuis), he initially painted a decorated quiver lying on a rock near the goddess Diana. The quiver resembles one in Girl Reading a Letter at an Open Window, completed a few years later. In The Soldier and the Laughing Girl (The Frick Collection), Vermeer originally added large, colorful feathers to the officer’s black hat.
In Allegory of the Catholic Faith (Metropolitan Museum of Art), the open book has been identified as The Life of Hugo in Generale Legende der Heyligen by Pedro de Ribadeneira and Heribert Rosweyde, third edition published in 1640.
Technical analysis showed Vermeer changed his use of blue and green pigments throughout his career. Researchers say this could prompt a reassessment of the timeline of some paintings.
The investigation also revealed new documentation about Vermeer’s personal life. One record with his signature shows he managed property in Oud-Beijerland on behalf of his wife’s family, the Thins-Bolnes family. Two other documents suggest Maria de Knuijt, not her husband, was Vermeer’s main patron.
The research found that 30 of the 37 paintings attributed to Vermeer show alterations, ranging from minor corrections to major changes in composition. Previous studies in the project revealed Vermeer had initially planned to include a jug rack and a brazier in The Milkmaid but later painted over them.
