Unraveling a 17th-Century Art Mystery
A new exhibition in London has brought together two nearly identical paintings that have sparked a long-standing debate about their origins. The display, titled Double Vision: Vermeer, features one of the most renowned works by Dutch painter Johannes Vermeer alongside what is believed to be its “twin.” This rare pairing offers art enthusiasts and scholars an opportunity to explore the nuances of Vermeer’s work and the complexities of attribution.
The original painting, known as The Guitar Player, was created in 1672 and is one of only 37 confirmed works by Vermeer. The artist is celebrated for his ability to capture the quiet moments of everyday life, often set within domestic interiors. This particular piece depicts a young woman playing the guitar, frozen in a moment of grace and introspection.
The second painting, Lady with a Guitar, has long been considered a possible original by Vermeer. However, its status has been questioned for over a century. The Kenwood House version of The Guitar Player was discovered in 1927 and quickly gained recognition due to its superior condition and apparent authenticity. It also bears Vermeer’s signature, which the Philadelphia Museum of Art’s version lacks.
Key Differences and Ongoing Research
Despite the similarities between the two paintings, there are notable differences that have fueled scholarly discussion. One of the most striking distinctions is the hairstyle of the central figure. In the Kenwood painting, the woman has her hair in ringlets, while the Philadelphia version shows a more straightforward style. These variations have led experts to question whether one painting is a copy of the other or if both could be attributed to Vermeer.
Recent research conducted by conservators, curators, and art historians from the Philadelphia Museum of Art, the National Gallery of Art in Washington, DC, and English Heritage has shed new light on these differences. Findings suggest that the Kenwood painting was prepared with a single pale gray-brown ground layer, whereas the Philadelphia version used a dark brown ground. Additionally, the Kenwood painting incorporates ultramarine, a costly pigment, while the Philadelphia version uses indigo, a more affordable alternative.
A Debate That Continues
Experts remain divided on the origins of Lady with a Guitar. Gregor Weber, a former head of the fine arts department at the Rijksmuseum, believes the Philadelphia painting may be an early copy of the Kenwood version. He points to the modernized hairstyle, which aligns with trends seen in works by other 17th-century artists such as Jan Verkolje and Nicolaes Maes.
Jennifer Thompson, curator at the Philadelphia Museum of Art, emphasizes the significance of the exhibition in allowing viewers to engage with the mystery firsthand. “Double Vision provides a thrilling opportunity to place the two pictures side by side and to consider what science and connoisseurship offer to our understanding of Vermeer and 17th-century painting materials and techniques,” she said.
The Exhibition Experience
The Double Vision: Vermeer exhibition invites visitors to observe the two paintings closely and draw their own conclusions about their origins. By placing them in direct comparison, the exhibit highlights the subtle details that distinguish one from the other, while also celebrating Vermeer’s mastery of composition and technique.
As research continues, future findings will likely provide further insight into this intriguing artistic puzzle. For now, the exhibition stands as a testament to the enduring fascination with Vermeer’s work and the ongoing quest to uncover the truth behind his legacy.
