Fading into the background: the dark space surrounding Vermeer’s Girl with a Pearl Earring

The background of Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) has, until recently, been interpreted as a flat dark space. The painting was examined in 2018 as part of the research project The Girl in the Spotlight using a combination of micro- and macro-scale analytical techniques. Th...

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Vydané v:	Heritage science Ročník 7; číslo 1; s. 1 - 19
Hlavní autori:	Vandivere, Abbie, van Loon, Annelies, Callewaert, Tom, Haswell, Ralph, Proaño Gaibor, Art Ness, van Keulen, Henk, Leonhardt, Emilien, Dik, Joris
Médium:	Journal Article
Jazyk:	English
Vydavateľské údaje:	Cham Springer International Publishing 16.09.2019 Springer Nature B.V SpringerOpen
Predmet:	17th century Background Charcoal Chemistry and Materials Science Chromatography Flat surfaces Girls Glaze Imaging techniques Indigo Infrared imaging Materials Science Microscopy Optical Coherence Tomography Research Article Stratigraphy The Girl in the Spotlight: A technical re-examination of Vermeer’s Girl with a Pearl Earring Visual effects Weld X-ray fluorescence Macroscopic X-ray fluorescence imaging Background Optical coherence tomography Focused ion beam-scanning transmission electron microscopy Liquid chromatography Glaze Indigo 17th century Weld
ISSN:	2050-7445, 2050-7445
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Abstract	The background of Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) has, until recently, been interpreted as a flat dark space. The painting was examined in 2018 as part of the research project The Girl in the Spotlight using a combination of micro- and macro-scale analytical techniques. The stratigraphy of the background was determined from samples mounted as cross-sections, and its material composition was analysed using electron microscopy and chromatographic techniques. The underlayer contains mainly charcoal black, and the glaze contains two organic colourants—indigo and weld—and a copper drier. Deterioration of the glaze has made features in the background difficult to discern with the naked eye. Complementary imaging techniques were able to visualise Vermeer’s signature, and the suggestion of folded fabric (possibly a curtain) on the right side of the painting. The distribution of the layer(s) in the background were imaged using: infrared reflectography (900–1100 nm), multi-scale optical coherence tomography scanning, macroscopic X-ray fluorescence and 3D digital microscopy. Vermeer applied the black underlayer vigorously with overlapping brushstrokes that varied in thickness. When he applied the glaze on top, it levelled out to make a smooth flat surface. The visual effect of the background contrasts the figure of the Girl and projects her forward in space, closer to the viewer.
AbstractList	The background of Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) has, until recently, been interpreted as a flat dark space. The painting was examined in 2018 as part of the research project The Girl in the Spotlight using a combination of micro- and macro-scale analytical techniques. The stratigraphy of the background was determined from samples mounted as cross-sections, and its material composition was analysed using electron microscopy and chromatographic techniques. The underlayer contains mainly charcoal black, and the glaze contains two organic colourants—indigo and weld—and a copper drier. Deterioration of the glaze has made features in the background difficult to discern with the naked eye. Complementary imaging techniques were able to visualise Vermeer’s signature, and the suggestion of folded fabric (possibly a curtain) on the right side of the painting. The distribution of the layer(s) in the background were imaged using: infrared reflectography (900–1100 nm), multi-scale optical coherence tomography scanning, macroscopic X-ray fluorescence and 3D digital microscopy. Vermeer applied the black underlayer vigorously with overlapping brushstrokes that varied in thickness. When he applied the glaze on top, it levelled out to make a smooth flat surface. The visual effect of the background contrasts the figure of the Girl and projects her forward in space, closer to the viewer. The background of Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) has, until recently, been interpreted as a flat dark space. The painting was examined in 2018 as part of the research project The Girl in the Spotlight using a combination of micro- and macro-scale analytical techniques. The stratigraphy of the background was determined from samples mounted as cross-sections, and its material composition was analysed using electron microscopy and chromatographic techniques. The underlayer contains mainly charcoal black, and the glaze contains two organic colourants—indigo and weld—and a copper drier. Deterioration of the glaze has made features in the background difficult to discern with the naked eye. Complementary imaging techniques were able to visualise Vermeer’s signature, and the suggestion of folded fabric (possibly a curtain) on the right side of the painting. The distribution of the layer(s) in the background were imaged using: infrared reflectography (900–1100 nm), multi-scale optical coherence tomography scanning, macroscopic X-ray fluorescence and 3D digital microscopy. Vermeer applied the black underlayer vigorously with overlapping brushstrokes that varied in thickness. When he applied the glaze on top, it levelled out to make a smooth flat surface. The visual effect of the background contrasts the figure of the Girl and projects her forward in space, closer to the viewer. Abstract The background of Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) has, until recently, been interpreted as a flat dark space. The painting was examined in 2018 as part of the research project The Girl in the Spotlight using a combination of micro- and macro-scale analytical techniques. The stratigraphy of the background was determined from samples mounted as cross-sections, and its material composition was analysed using electron microscopy and chromatographic techniques. The underlayer contains mainly charcoal black, and the glaze contains two organic colourants—indigo and weld—and a copper drier. Deterioration of the glaze has made features in the background difficult to discern with the naked eye. Complementary imaging techniques were able to visualise Vermeer’s signature, and the suggestion of folded fabric (possibly a curtain) on the right side of the painting. The distribution of the layer(s) in the background were imaged using: infrared reflectography (900–1100 nm), multi-scale optical coherence tomography scanning, macroscopic X-ray fluorescence and 3D digital microscopy. Vermeer applied the black underlayer vigorously with overlapping brushstrokes that varied in thickness. When he applied the glaze on top, it levelled out to make a smooth flat surface. The visual effect of the background contrasts the figure of the Girl and projects her forward in space, closer to the viewer.
ArticleNumber	69
Author	Vandivere, Abbie Haswell, Ralph Leonhardt, Emilien van Keulen, Henk van Loon, Annelies Proaño Gaibor, Art Ness Dik, Joris Callewaert, Tom
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References_xml	– reference: Gifford EM, Glinsman LD. Collective style and personal manner: Materials and techniques of high-life genre painting. In: Waiboer AE, Wheelock Jr. AK, Ducos B, Bakker P, Buvelot P. Vermeer and the masters of genre painting: Inspiration and rivalry. New Haven and London: Yale University Press, in association with the National Gallery of Ireland; 2017. p. 65–83. – reference: AlfeldMJannsensMStrategies for processing mega-pixel X-ray fluorescence hyperspectral data: a case study on a version of Caravaggio’s painting Supper at EmmausJ Anal At Spectrom2015307777891:CAS:528:DC%2BC2MXis1eju7g%3D10.1039/C4JA00387J – reference: DunkertonJObservations on the handling properties of binding media identified in European painting from the fifteenth to the seventeenth centuriesBull Institut Royal du Patrimoine Artistique/Koninklijk Instituut voor het Kunstpatrimonium.200027287292 – reference: van KeulenHSchillingMAMDIS & EXCEL: a powerful combination for evaluating THM-Py-GC/MS results from European lacquersStud Conserv201964sup1S74S801:CAS:528:DC%2BC1MXhtVOgtLfI10.1080/00393630.2019.1594580 – reference: DrexlerWFujimotoJGOptical coherence tomography: technology and applications20152BerlinSpringer10.1007/978-3-319-06419-2 – reference: Groen K, van der Werf I, van den Berg K, Boon J. Scientific examination of Vermeer’s “Girl with a Pearl Earring”. In: Gaskell I, Jonker M, editors. Vermeer Studies: Studies in the History of Art 55. New Haven and London: National Gallery of Art, Washington; Yale University Press; 1988. p. 168–83. – reference: BernsRSde la RieERThe effect of the refractive index of a varnish on the appearance of oil paintingsStud Conserv2003482512621:CAS:528:DC%2BD2cXkslygsLo%3D10.1179/sic.2003.48.4.251 – reference: VandivereAWadumJvan den BergKJvan LoonAFrom ‘Vermeer Illuminated’ to ‘The Girl in the Spotlight’: approaches and methodologies for the scientific (re-)examination of Vermeer’s Girl with a Pearl EarringHerit Sci20197661:CAS:528:DC%2BC1MXhs1OmsrnJ10.1186/s40494-019-0307-5 – reference: Elkhuizen WS, Callewaert TWJ, Leonhardt E, Vandivere A, Song Y, Pont SC, Geraedts JMP, Dik J. Comparison of three 3D imaging techniques for paintings, as applied to Vermeer’s Girl with a Pearl Earring. Herit Sci. 2019. 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Snippet	The background of Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) has, until recently, been interpreted as a flat dark space. The painting was... The background of Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) has, until recently, been interpreted as a flat dark space. The painting was... Abstract The background of Vermeer’s Girl with a Pearl Earring (c. 1665, Mauritshuis) has, until recently, been interpreted as a flat dark space. The painting...
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SubjectTerms	17th century Background Charcoal Chemistry and Materials Science Chromatography Flat surfaces Girls Glaze Imaging techniques Indigo Infrared imaging Materials Science Microscopy Optical Coherence Tomography Research Article Stratigraphy The Girl in the Spotlight: A technical re-examination of Vermeer’s Girl with a Pearl Earring Visual effects Weld X-ray fluorescence
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Title	Fading into the background: the dark space surrounding Vermeer’s Girl with a Pearl Earring
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