Our recent in-depth study, which compared and contrasted in detail the materials and sequential build-up of paint layers in all four of the paintings by and attributed to Johannes Vermeer (1632–1675) at the National Gallery of Art in Washington, DC, further illuminates how Vermeer achieved the visual qualities that distinguish Girl with the Red Hat from his more formal genre works, such as Woman Holding a Balance ( fig. The painting is intimate, immediate, and daring in both its conception and execution. Dressed in a lush blue robe with hints of patterning, the woman seems to radiate energy-a feeling that stems as much from the vibrant color combinations as from the fixity of her gaze. The composition depicts a young woman staring out at the viewer from beneath a broad, feathery, cherry-red beret. 1937.1.53 (artwork in the public domain) National Gallery of Art, Washington, DC, Andrew W. 1 Johannes Vermeer, Girl with the Red Hat, ca. The 1696 inventory of Dissius’s estate and property contains a list of paintings: item number thirty-eight on the list was “a tronie in antique dress, uncommonly artful.” Following it, “another ditto Vermeer” and after that, “a pendant of the same.” 1 One of these paintings is likely to be the National Gallery of Art’s Girl with the Red Hat ( fig. They were inherited by Van Ruijven’s daughter Magdalena and, upon her death, by her husband, Jacob Dissius. When the Delft collector Pieter van Ruijven-often described as Vermeer’s principal patron-died in 1674, his collection included twenty-one of the artist’s paintings.
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