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Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer
Girl with a Pearl Earring - Johannes Vermeer

Girl with a Pearl Earring - Johannes Vermeer

It is easy to see why this compelling image has become Johannes Vermeer's most admired work. It captures the viewer's attention with delicately pearlescent light effects and the insistent gaze of the model, assumed to be Maria, the artist's eldest daughter. The treatment of the background of the work contrasts with the clear, rich and colorful background that Vermeer usually offers in his portraits. This choice helps to break up Vermeer's two favorite colors: the ultramarine blue of the turban and the lemon yellow of the fabric above it.

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The artwork in a nutshell

It is easy to see why this compelling image has become Johannes Vermeer's most admired work. It captures the viewer's attention with delicately pearlescent light effects and the insistent gaze of the model, assumed to be Maria, the artist's eldest daughter. The treatment of the background of the work contrasts with the clear, rich and colorful background that Vermeer usually offers in his portraits. This choice helps to break up Vermeer's two favorite colors: the ultramarine blue of the turban and the lemon yellow of the fabric above it.

The artist

Born in Delft in the Netherlands, Johannes Vermeer (1632 - 1675) discovered the artistic world through his father who, opportunistic and financially unstable, proclaimed himself an art dealer. Beginning his apprenticeship in painting around 1640, he inherited his father's debts in 1662 and took over his business. No one knows precisely which master took him on as a pupil, his early influences remaining open to speculation. In 1653 he was admitted to the local artists' guild, the Guild of Saint Luke of Delft, as a master, and was elected syndic in 1662. During his lifetime, his fame did not extend beyond the limits of his native town. A baroque painter, he left behind 37 recognized paintings and fell into oblivion until his works were rediscovered in the second half of the 19th century by the Frenchman Théophile Thoré-Bürger, who included some of his paintings in an exhibition.
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