Dutch Golden Age · 1632–1675 · Dutch

Johannes Vermeer

Vermeer used natural ultramarine, ground from lapis lazuli and one of the most expensive pigments of his day, far more freely than his contemporaries, even in shadows and underlayers. Cool ultramarine against warm lead-tin yellow is his signature pairing.

Across 6 works, the colors are mostly brown (49%), black (31%) and white (9%). On average the canvases are mid-toned, muted and warm. Signature colors, used far more here than across the collection: black, very dark olive, bistre, dark olive and pale muted blue.

Color print

The swatches covering most of these canvases, averaged over every work, dark to light.

• MG 224 black 10.8% of canvas
• MG 219 bistre 8.8% of canvas
• MG 223 soot 5.5% of canvas
• MG 171 bone 5.0% of canvas
• MG 177 dark taupe 4.8% of canvas
• MG 222 charcoal 4.6% of canvas
• MG 220 warm black 3.4% of canvas
• MG 221 blue black 2.9% of canvas
• MG 196 very dark olive 2.8% of canvas
• MG 176 taupe 2.8% of canvas
• MG 206 silver 2.7% of canvas
• MG 201 parchment 2.7% of canvas
• MG 195 dark olive 2.6% of canvas
• MG 172 oatmeal 2.4% of canvas
• MG 175 stone 2.4% of canvas
• MG 202 pale muted golden cream 2.2% of canvas

Measurements

Lightness

0.46

Contrast

0.54

Vividness

0.027

Warmth

+0.85

Complexity

146 cells

Hue range

0.34

Focus

0.11

Works

• The Little Street, 1658
• The Milkmaid, 1660
• View of Delft, c. 1661
• The Astronomer, 1664
• Girl with a Pearl Earring, 1665
• The Art of Painting, c. 1667