Girl with a pearl

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Трони

Материал из Википедии — свободной энциклопедии

Несколько рембрандтовских автопортретов выполнены как tronie
Тро;ни (от нид. tronie — голова, лицо, рожа) — жанровая разновидность графического или живописного портрета, получившая распространение в Голландии в XVII веке. Представляет собой поясные или поплечные портретные штудии, изображавшие зачастую анонимных моделей с необычным выражением лица или костюмом.

Литература
Dagmar Hirschfelder: Tronie und Portr;t in der niederl;ndischen Malerei des 17. Jahrhunderts. Mann, Berlin 2008, ISBN 978-3-7861-2567-9.
Franziska Gottwald: Das Tronie. Muster — Studie — Meisterwerk. Die Genese einer Gattung der Malerei vom 15. Jahrhundert bis zu Rembrandt, M;nchen/Berlin: Deutscher Kunstverlag, 2009. ISBN 978-3-422-06930-5



Tronie


From Wikipedia, the free encyclopedia

The Smoker, Joos van Craesbeeck
A tronie (Dutch pronunciation: [;tro;ni] ;) is a type of work in Dutch Golden Age painting and Flemish Baroque painting that depicts an exaggerated facial expression or people in costume. These works were not intended as portraits or caricatures but as studies of expression, type, physiognomy or an interesting character such as an old man or woman, a young woman, the soldier, the shepherdess, the "Oriental", or a person of a particular race.[1][2]

The main goal of the artists who created tronies was to achieve a lifelike representation of the figures and to show off their illusionistic abilities through the free use of color, strong light contrasts, or a peculiar color scheme. Tronies conveyed different meanings and values to their viewers. Tronies embodied abstract notions such as transience, youth, and old age, but could also function as positive or negative examples of human qualities, such as wisdom, strength, piety, folly, or impulsiveness.[2] These works were very popular in Holland and Flanders and were produced as independent works for the free market.[3][4]

Definition
The term tronie is not clearly defined in art historical literature. In 16th- or 17th-century Dutch 'tronie' was a neutral reference to a "head", "face" or "facial expression". It could also have a more negative connotation as denoting a face causing fear, disgust, mockery or amusement. This meaning of the word is still retained in contemporary Dutch. The term tronie was related to the middle-French word "trogne" or "trongne" meaning "mug" or "snout".[2]


Profile Head of an Old Woman, Jan Lievens
In the context of the visual arts, literary and archival sources show that initially the term 'tronie' was not always associated with the depiction of people. Inventories sometimes referred to flower and fruit still lifes as tronies. More common was the meaning of face or visage. Often the term referred to the entire head, even a bust, and in exceptional cases the whole body. A tronie could be two-dimensional, but also made of plaster or stone. Sometimes a tronie was a likeness or depiction of an individual, including the face of God, Christ, Mary, a saint or an angel. In particular, a tronie denoted the characteristic appearance of the head of a type, such as a farmer, beggar or jester. Tronie sometimes meant a grotesque head or model, such as an ugly old person. When conceived as the face of an individual or of a type, a tronie's aim was to express feelings and character in an accurate manner and must therefore be expressive.[5] In modern art-historical usage, the term tronie is typically restricted to figures not intended to depict an identifiable person, so it is a form of genre painting in a portrait format. Typically a painted head or bust only, if concentrating on the facial expression, but often half-length when featured in an exotic costume, tronies may be based on studies from life or use the features of actual sitters. The picture was typically sold on the art market without identification of the sitter, and was not commissioned and retained by the sitter as portraits normally were. Similar unidentified figures treated as history paintings would normally be given a title from the classical world, for example the Rembrandt painting now known as Saskia as Flora.

History
The genre started in the Low Countries in the 16th century where it was likely inspired by some of the grotesque heads drawn by Leonardo. Leonardo had pioneered drawings of paired grotesque heads whereby two heads, usually in profile, were placed opposite each other in order to accentuate their diversity. This paired juxtaposition was also adopted by artists in the Low Countries. In 1564 or 1565 Joannes and Lucas van Doetecum are believed to have engraved 72 heads attributed to Pieter Brueghel the Elder that followed this paired arrangement.[5]



Heads of an old man and a woman by Jan van de Venne
This paired model was still being used by some artists in the 17th century. For instance, the Flemish artist Jan van de Venne who was active in the first half of the 17th century painted a number of tronies juxtaposing different faces.

In the 16th century, painters created tronies, which they painted from live models to be used for the figures of large history paintings. Many artists made collections of character heads as preparatory studies for paintings, especially history paintings.[6] The Flemish painter Frans Floris' distinctive head studies had become a form of authorial achievement by 1562. While Floris made the head studies both for his own use and for the students and assistants in his workshop, some were clearly also created as works of art in their own right. The rapid, expressive brushwork of these panels suggests that he painted some heads as independent creative studies, and as such they anticipate the tronies of the 17th century. These studies became collector's items for local art lovers. Floris head studies testify to the self-conscious artistic culture of Antwerp, where they were valued more for their authorship than for their preparatory value.[7]


Peeckelhaering (The Merry Reveler), Frans Hals
;n the 17th century these studies of faces became an art form in their own right in the Dutch Republic. The most important artistic precursors of tronies, which were produced in Leiden and Haarlem in the 1620s, include painted and drawn study heads of the 16th and early 17th centuries. It was Jan Lievens who initiated tronie production in Leiden. Starting from his own single-figure genre and history paintings in half-figures, Lievens limited the subject of the painting to the representation of a head or a bust. He took his cue from the Flemish study heads of masters such as Rubens and van Dyck. The emergence of the tronie as the result of a reduction of larger compositions was also evident in the work of Frans Hals, a Haarlem painter. Some of Frans Hals's tronies are his best-known works such as the Gypsy Girl.[2] Other Haarlem painters who painted tronies include Pieter de Grebber, Adriaen van Ostade and Franchoys Elaut. The practice of tronies as independent artworks was well known by Flemish painters. It cannot be ruled out that the genre of the tronie as an independent art form emerged earlier in Flanders than in Holland. Flemish painters Rubens, van Dyck, and Jordaens are known to have used painted head studies in larger working contexts. However, some of these works were also intended as independent expressive studies.[8]

The making of tronies spread and developed into an independent art form around Rembrandt. There was a lucrative market for tronies in the Netherlands.[6] The price of tronies was lower than that of other types of paintings, which brought them within the reach of a wider audience.[2] Several Rembrandt self-portrait etchings are tronies, as are paintings of himself, his son and his wives. Three Vermeer paintings were described as "tronies" in the Dissius auction of 1696, perhaps including the Girl with a Pearl Earring and the Washington Young Girl with a flute.

Adriaen Brouwer was a successful practitioner of the genre as he had a talent for expressiveness. His work gave a face to lower-class figures by infusing their images with recognizable and vividly expressed human emotions such as anger, joy, pain, and pleasure. His Youth Making a Face (c. 1632/1635, National Gallery of Art) shows a young man with a satirical and mocking gesture which humanises him, however uninviting he may appear. Brouwer's vigorous application of paint in this composition, with his characteristically short, unmodulated brushstrokes, increases the dramatic effect.[9] Tronie painters often returned to the traditional theme of the allegory of the five senses and created series of tronies depicting the five senses. Examples are Lucas Franchoys the Younger's A man removing a plaster, the sense of touch and Joos van Craesbeeck's The Smoker which represents taste.[10]

The tronie is related to, and has some overlap with, the "portrait histori;",[2] a portrait of a real person as another, usually historical or mythological, figure. Jan de Bray specialised in these, and such portraits often showed aristocratic ladies as mythological figures.

Gallery
Examples of tronies
Johannes Vermeer, Girl with a Pearl Earring, c.;1665
Johannes Vermeer, Girl with a Pearl Earring, c.;1665
 
Adriaen Brouwer, Youth Making a Face
Adriaen Brouwer, Youth Making a Face
 
Rembrandt, Old Man in Military Costume
Rembrandt, Old Man in Military Costume
 
Michiel Sweerts, Portrait of a young man holding a cat (Allegory of touch)
Michiel Sweerts, Portrait of a young man holding a cat (Allegory of touch)
 
Lucas Franchoys the Younger, Man removing a plaster, the sense of touch
Lucas Franchoys the Younger, Man removing a plaster, the sense of touch
See also
Joseph Ducreux – French 18th century portraitist whose less formal works use extreme expressions
Franz Xaver Messerschmidt – Austrian sculptor best known for his extreme "character heads"
References
 Walter Liedtke, Vermeer and the Delft School, New York, 2001, p. 138
 Dagmar Hirschfelder, Tronie und Portr;t in der niederl;ndischen Malerei des 17. Jahrhunderts, Berlin: Mann, 2008, p. 351-359
 Dagmar Hirschfelder, Training Piece and Sales Product: on the Functions of the Tronie in Rembrandt's Workshop, in: M. Roscam Abbing (Hrsg.), Rembrandt 2006: Band I: Essays, Leiden, 2006, Spp. 112-131
 Bernadette van Haute (2015) Black tronies in seventeenth-century Flemish art and the African presence, de arte, 50:91, 18-38
 Jan Muylle, Tronies toegeschreven aan Pieter Bruegel, in: De zeventiende eeuw. Jaargang 17. Uitgeverij Verloren, Hilversum 2001, p. 174-203 (in Dutch)
 Dagmar Hirschfelder, 2008, p. 14
 Edward H. Wouk: Frans Floris’s Allegory of the Trinity (1562) and the Limits of Tolerance. In: Art History 10/2014, 38(1), pp. 39-76
 Dagmar Hirschfelder, 2008, p. 71
 Brouwer, Adriaen, Youth Making a Face at the National Gallery of Art
 A man removing a plaster, the sense of touch by Lucas Franchoys the Younger at the Wellcome Library, London
Sources
Hirschfelder, Dagmar: Tronie und Portr;t in der niederl;ndischen Malerei des 17. Jahrhunderts. Berlin: Gebr. Mann Verlag, 2008. ISBN 978-3-7861-2567-9
Gottwald, Franziska: Das Tronie. Muster - Studie - Meisterwerk. Die Genese einer Gattung der Malerei vom 15. Jahrhundert bis zu Rembrandt, M;nchen/Berlin: Deutscher Kunstverlag, 2009. ISBN 978-3-422-06930-5
Hirschfelder, Dagmar / Krempel, Le;n (Eds.): Tronies. Das Gesicht in der Fr;hen Neuzeit, Berlin: Gebr. Mann Verlag, 2013.
External links
Wikimedia Commons logo Media related to Tronies at Wikimedia Commons
Authority control databases Edit this at Wikidata
GND
Categories: Visual arts genresPortrait artDutch Golden Age paintingsFlemish artFlemish Baroque artFacial expressionsIconographyDutch words and phrasesDutch paintingDutch Golden Age


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Girl with a Pearl Earring

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From Wikipedia, the free encyclopedia
This article is about the painting. For other uses, see Girl with a Pearl Earring (disambiguation).
Girl with a Pearl Earring
Meisje met de parel (Dutch)

Map
Wikimedia | © OpenStreetMap
Artist Johannes Vermeer
Year c.;1665
Type Tronie
Medium Oil on canvas
Movement Dutch Golden Age painting
Dimensions 44.5 cm ; 39 cm (17.5 in ; 15 in)
Location
Mauritshuis, The Hague, Netherlands
Girl with a Pearl Earring (Dutch: Meisje met de parel)[1][2] is an oil painting by Dutch Golden Age painter Johannes Vermeer, dated c. 1665. Going by various names over the centuries, it acquired its present title towards the end of the 20th century.[3] The work has been in the collection of the Mauritshuis in The Hague since 1902 and has been the subject of various literary and cinematic treatments.

Description
The painting is a tronie, the Dutch 17th-century description of a "head" that was not meant to be a portrait. It depicts a European girl wearing "exotic dress", an "oriental turban", and what appears to be a very large pearl as an earring.[1] The work is oil on canvas and is 44.5 cm (17.5 in) tall by 39 cm (15 in) wide. It is signed "IVMeer" but not dated. It is estimated to have been painted around 1665.[4]

The most recent (1994) restoration of the painting brought out hidden subtleties in the colour scheme and deepened the intimacy of the girl's gaze towards the viewer.[5] During this process, it was discovered that the dark background, today somewhat mottled, was originally a deep enamel-like green. This effect was produced by applying a thin transparent layer of paint—a glaze—over the black background seen now. However, the two organic pigments of the green glaze, indigo and weld, have faded.[6] In 2014, Dutch astrophysicist Vincent Icke [nl] raised doubts about the material of the earring, arguing that it looks more like polished tin than pearl on the grounds of the specular reflection, the pear shape and the large size of the earring.[7][8]

The identity of the subject is disputed. She may have been real or imagined, or she might represent a Sibyl or a biblical figure.[9] Some authors, such as Jean-Louis Vaudoyer and Lawrence Weschler, believed her to be the artist's eldest daughter, Maria, though other art historians dismiss this speculation as an anachronism.[10][11] Art historian Andrew Graham-Dixon believes that the subject of the painting was Magdalena, the 12-year-old daughter of Vermeer's chief patron Pieter Claesz van Ruijven, who lived in a house called the Golden Eagle in the Old Town area of Delft. Her family were Remonstrants, for whom the biblical Mary Magdalene was an important figure, and the portrait with its biblical style of clothing could have been painted to commemorate Magdalena's baptism into the church.[12][13]

Ownership and display

The Mauritshuis in The Hague, 2011, showing a representation of the painting at right
On the advice of Victor de Stuers, who for years tried to prevent Vermeer's rare works from being sold to parties abroad, Arnoldus Andries des Tombe purchased the work at an auction in The Hague in 1881, for only two guilders plus thirty cents buyer's premium (equivalent to roughly €24 in 2015[14]). At the time, it was in poor condition, with parts of the paint layer having become detached. Des Tombe had no heirs and by a bequest donated this and other paintings to the Mauritshuis in 1902.[15] During the Nazi occupation of the Netherlands, the painting was kept hidden in a bombproof bunker located just below the Mauritshuis for two years, before removal to the St. Pietersberg caves near Maastricht until the liberation of the Netherlands in May 1945.[16][17]

The painting has since been widely exhibited about the world until 2014, when it returned to the Mauritshuis permanently for display in the collection.[18] By that time, as a result of its promotion, a CNN survey named it one of the world's most recognizable paintings.[19]

Painting technique
The painting has been studied by the scientists of the Netherlands Institute for Cultural Heritage and the FOM Institute for Atomic and Molecular Physics (AMOLF) Amsterdam.[20]

The ground is dense and yellowish in colour and is composed of chalk, lead white, ochre, and very little black. The dark background of the painting contains bone black, weld (luteolin, Reseda luteola), chalk, small amounts of red ochre, and indigo. The face and draperies were painted mainly using ochres, natural ultramarine, bone black, charcoal black, and lead white.[21]

In February–March 2018, an international team of art experts spent two weeks studying the painting in a specially constructed glass workshop in the museum, open to observation by the public. The non-invasive research project involved the removal of the work from its frame for study with microscopes, and the use of X-ray and other scanning equipment to better understand the methods and materials used by Vermeer.[22][23] The project, named The Girl in the Spotlight, was headed by Abbie Vandivere, conservator at the Mauritshuis.[24] Results were published by the Mauritshuis.[25] A blog by Vandivere discusses the project at greater length.[26]

Results included the presence of delicate eyelashes, a green curtain behind the head, changes made, and details of the pigments used and where they came from. The absence of eyebrows and the featureless background had led to speculation that Vermeer was painting an idealised or abstract face; the later discoveries showed that he was painting a real person in a real space. The pearl has been described as an illusion due to having "no contour and also no hook to hang it from the girl's ear".[27]

Painting title
Throughout history and in various parts of the world, the painting has been known by several titles. Originally it may have been one of the two tronies "painted in the Turkish fashion" (Twee tronijnen geschildert op sijn Turx) recorded in the inventory at the time of Vermeer's death.[28] It may later have been the work appearing in the catalogue to a 1696 sale of painting in Amsterdam, where it is described as a "Portrait in Antique Costume, uncommonly artistic" (Een Tronie in Antique Klederen, ongemeen konstig).[29]

After the bequest to the Mauritshuis, the painting became known as Girl with a Turban (Meisje met tulband) and it was noted of its original description in the 1675 inventory that the turban had become a fashion accessory of some fascination during the period of European wars against the Turks.[30] By 1995, the title Girl with a Pearl (Meisje met de parel) was considered more appropriate.[31] Pearls, in fact, figure in 21 of Vermeer's pictures,[32] including very prominently in Woman with a Pearl Necklace. Earrings alone are also featured in A Lady Writing a Letter, Study of a Young Woman, Girl with a Red Hat, and Girl with a Flute. Similarly shaped ear-pieces were used as convincing accessories in 20th-century fakes that were briefly attributed to Vermeer, such as Young Woman with a Blue Hat, Smiling Girl and The Lace Maker.[33]

Generally, the English title of the painting was simply Head of a Young Girl, although it was sometimes known as The Pearl. One critic explained that this name was given, not just from the detail of the earring, but because the figure glows with an inner radiance against the dark background.[34] It has also been speculated that the girl may be a Sibyl from Greek mythology or a biblical figure.[35]

Cultural impact
Some of the first literary treatments of the painting were in poems. For Yann Lovelock in his sestina, "Vermeer’s Head of a Girl", it is the occasion for exploring the interplay between imagined beauty interpreted on canvas and living experience.[36] W. S. Di Piero reimagined how the "Girl with Pearl Earring by Johannes Vermeer" might look in the modern setting of Haight Street in San Francisco,[37] while Marilyn Chandler McEntyre commented on the girl's private, self-possessed personality.[38]

There have also been fictional appearances. As La ragazza col turbante (Girl with a Turban, 1986), it features as the general title of Marta Morazzoni’s collection of five short novellas set in the Baroque era. In the course of the title story, a Dutch art dealer sells Vermeer's painting to an eccentric Dane in the year 1658. Indifferent to women in real life, the two men can only respond to the idealization of the feminine in art.[39] Tracy Chevalier's 1999 historical novel Girl with a Pearl Earring fictionalized the circumstances of the painting's creation. There, Vermeer becomes close to a servant whom he uses as an assistant and has sit for him as a model while wearing his wife's earrings. The novel was adapted into a 2003 film of the same name and a 2008 play.[40][41]

Vermeer's painting was appropriated in 1985 in a work titled Encuentro en la playa (after Vermeer) by the Peruvian painter Herman Braun-Vega.[42] In this allegory of cultural syncretism, the Dutch girl is accompanied by two young mixed-race girls on a beach and personifies the descendants of Europeans living in Latin America.[43] In 2009, the Ethiopian American Awol Erizku recreated Vermeer's painting as a print, centering on a young black woman and replacing the pearl earring with bamboo earrings as a commentary on the lack of black figures in museums and galleries. His piece is titled Girl with a Bamboo Earring.[44] And in 2014, the English street artist Banksy reproduced the painting as a mural in Bristol, incorporating an alarm box in place of the pearl earring and calling the artwork Girl with a Pierced Eardrum.[45]

A climate activist representing the Just Stop Oil campaign attempted to glue his head to the glass protecting Vermeer's painting in October 2022 and was covered in tomato soup by another protester.[46] The gesture did not damage the painting, and three people were arrested for public violence against goods.[46][47]

See also
icon Art portal
List of paintings by Johannes Vermeer
References
 "Girl with a Pearl Earring". Mauritshuis. Retrieved 8 December 2014.
 "Meisje met de parel". Mauritshuis (in Dutch). Retrieved 8 December 2014.
 Janson, Jonathan. "Titles". Girl with a Pearl Earring. Archived from the original on 25 February 2021.
 "Details: Johannes Vermeer, Girl with a Pearl Earring, c. 1665". Mauritshuis. Archived from the original on 20 January 2018. Retrieved 9 December 2014.
 Wadum, J;rgen (1994). Vermeer Illuminated. Conservation, Restoration and Research. with contributions by L. Struik van der Loeff and R. Hoppenbrouwers. The Hague: V & K Publishing. OCLC 015767938.
 Vandivere, Abbie; Van Loon, Annelies; Callewaert, Tom; Haswell, Ralph; Proa;o Gaibor, Art Ness; Van Keulen, Henk; Leonhardt, Emilien; Dik, Joris (2019). "Fading into the background: the dark space surrounding Vermeer's Girl with a Pearl Earring". Heritage Science. 7. doi:10.1186/s40494-019-0311-9. S2CID 202754495.
 Icke, V. (December 2014). "Meisje met geen parel" [Girl with no pearl earring]. Nederlands Tijdschrift voor Natuurkunde [Dutch Journal of Physics] (in Dutch). 80 (12): 418–419.
 Janssen, Joris (28 November 2014). "Curieuze ontdekking: Meisje met de parel heeft geen parel" [Curious discovery: Girl with a Pearl Earring has no pearl]. New Scientist (in Dutch). Retrieved 8 December 2014.
 Sooke, Alastair (21 October 2014). "Vermeer's Girl with a Pearl Earring: Who was she?". BBC Culture. Retrieved 15 May 2023.
 Binstock, Benjamin (30 October 2013). "Who Was the Girl With the Pearl Earring?". Slate. ISSN 1091-2339. Retrieved 15 May 2023.
 Liedtke, Walter (2008). Vermeer: The Complete Paintings. The Classical Art Series (1st ed.). Abrams. ISBN 978-0810983366.
 Andrew Graham-Dixon (14 October 2025). "How I unmasked the real Girl with a Pearl Earring". www.thetimes.com. Retrieved 15 October 2025.
 "Art historian believes he has uncovered the identity of Vermeer's Girl with a Pearl Earring". The Globe and Mail. 19 June 2026.
 "Value of the guilder / euro". www.iisg.nl. Retrieved 6 October 2015.
 Vrij Nederland (magazine) (26 February 1996), p. 35–69.
 Boztas, Senay (13 March 2025). "'In plain sight': how The Hague museum was secret hideout from Nazi forced labour". The Guardian. Retrieved 23 March 2026.
 "Hiding 'Girl With a Pearl Earning". New York Times. 4 April 2025. Retrieved 23 March 2026.
 Lestienne, C;cile (21 July 2014). "Grounded: the great art treasures that no longer go out on the road". the Guardian. Retrieved 6 October 2015.
 "10 most famous paintings in the world". CNN Style. 21 November 2019.
 Groen, Karin M; Van der Werf, I. D.; van den Berg, K. J.; Boon, J. J. (1998). "The Scientific Examination of Vermeer's Girl with a Pearl Earring". In Gaskell, I.; Jonker, M. (eds.). Vermeer Studies: Symposium Papers XXXIII Center for Advanced Study in the Visual Arts. National Gallery of Art. pp. 169–183. Retrieved 2 February 2018.
 "Vermeer, Girl with a Pearl Earring". ColourLex.
 "The secrets of Girl with a Pearl Earring". BBC News. 14 March 2018. Retrieved 20 March 2018.
 Pieters, Janene (1 February 2018). ""Girl with a Pearl Earring" to be scanned, analyzed in public view". NLTimes. Retrieved 20 March 2018.
 "The Girl in the Spotlight". Mauritshuis. 2018. Retrieved 28 April 2020.
 "Closer to Vermeer and the Girl". Mauritshuis. Retrieved 28 April 2020.
 Vandivere, Abbie. "Girl with a Blog". Mauritshuis. Retrieved 28 April 2020.
 Brown, Mark (28 April 2020). "Dutch researchers coax secrets from Girl with a Pearl Earring". The Guardian.
 Wolf, Bryan Jay (2001). Vermeer and the Invention of Seeing. University of Chicago. p. 138. ISBN 9780226905044.
 Read, Herbert (1965). Johannes Vermeer. Knowledge Publications. p. 8.
 Schneider, Norbert (2000). Vermeer, 1632-1675: Veiled Emotions. Taschen. p. 69. ISBN 9783822863237.
 Graafland, Kees (9 December 2014). "Meisje met de parel draagt helemaal geen parel" [Girl with a pearl earring doesn't wear a pearl at all]. AD (in Dutch).
 Bertram, Anthony (1948). Jan Vermeer of Delft. Studio Publications.
 Janson, Jonathan. "Vermeer: Erroneous Attributions and Forgeries". Essential Vermeer. Archived from the original on 19 April 2024.
 Kahr, Madlyn Millner (1978). Dutch Painting in the Seventeenth Century. Harper & Row. p. 288. ISBN 9780064300872.
 Sooke, Alastair (21 October 2014). "Vermeer's Girl with a Pearl Earring: Who was she?". BBC Culture. Retrieved 15 May 2023.
 Lovelock, Yann (1984). Building Jerusalem. Rivelin Press. pp. 30–31. ISBN 9780904524482.
 Di Piero, W. S. (2001). "Girl with Pearl Earring by Johannes Vermeer". Skirts And Slacks. Alfred A. Knopf.
 McEntyre, Marilyn Chandler (2000). "Girl with a Pearl Earring". In Quiet Light: poems on Vermeer's women. Grand Rapids: William B. Eerdmans. p. 25. ISBN 0-8028-3879-0.
 Lazzaro-Weis, Carol (2011). From Margins to Mainstream: Feminism and Fictional Modes in Italian Women's Writing. University of Pennsylvania. p. 141. ISBN 9780812206708.
 "Girl with a Pearl Earring (2004)". British Film Institute. Archived from the original on 12 April 2018. Retrieved 7 August 2022.
 "Girl with a Pearl Earring". The Guardian. Retrieved 7 August 2022.
 Braun-Vega, Herman (1985). "Encuentro en la playa (Vermeer)" (Acrylic on canvas, 73 ; 92 cm).
 LENOIR, Pascal (2 July 2010). "« De l'ellipse m;thodologique ; la perspective actionnelle : la didactique scolaire de l'espagnol entre tradition et innovation (1970-2007) » Th;se de doctorat de Pascal LENOIR" (pdf). www.aplv-languesmodernes.org (in French). p. 477. La jeune fille ; la perle de Vermeer [...], ;videmment, n'est pas m;tisse [...] il y a des Latino-am;ricains qui sont 100% Europ;ens, quelques-uns le sont d;j; depuis plusieurs g;n;rations, de ce fait leur culture est m;tisse. Car la culture des pays d'Am;rique latine est cons;quence du syncr;tisme des diff;rentes cultures qui ont migr; vers le nouveau continent.
 "Awol Erizku – Girl with the Pearl Earring". Nolden/H Fine Art. 25 July 2016.
 "New Banksy 'earring' mural appears in Bristol Harbourside". BBC News. 20 October 2014. Retrieved 6 October 2015.
 Chung, Christine (27 October 2022). "Climate Protester Glues His Head to 'Girl With a Pearl Earring' Painting". The New York Times. Retrieved 27 October 2022.
 Henley, Jon (27 October 2022). "Just Stop Oil activist tries to glue own head to Girl with a Pearl Earring". The Guardian. Retrieved 27 October 2022.
Further reading
Liedtke, Walter A. (2001). Vermeer and the Delft School. Metropolitan Museum of Art. ISBN 9780870999734. OCLC 893698712.
External links
Analysis of the Girl with a Pearl Earring
An investigation into the illumination of Vermeer’s Girl with a Pearl Earring
Vermeer, Girl with a Pearl Earring, ColourLex
February 2018 NYT Article
Essential Vermeer, mouse over its image to discover details
Girl with a Pearl Earring at the website of the Mauritshuis
vte
Johannes Vermeer
Authority control databases Edit this at Wikidata
Categories: Girl with a Pearl Earring1665 paintings17th-century portraitsGenre paintings by Johannes VermeerPaintings in the MauritshuisPortraits of womenOil paintings on canvasPortraits by Dutch artistsPaintings of sibyls