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02-Mar-2016 13:38

In its initial form, the vanishing point of the perspective would have been in the center of the lower part of the painting of Cupid, which would therefore have been a very important element in the painting.

It is revealing of Vermeer's working method that when he removed the painting he did not alter the scene further, other than adding the curtain on the right to balance the visual weight of the other side of the composition.

The ability to express the emotions of his figures in a particular situation is one of Vermeer's most unique characteristics.

In this case, his decision to remove the painting of Cupid from the end wall results in an exceptionally evocative scene; nothing distracts us from the painting's message, which is the idea of communication with an absent loved one.

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The idea of including a curtain in the painting which seems to form part of the space occupied by the spectator has numerous precedents and became popular in Dutch art around the mid-seventeenth century (lower right).

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Along with the characteristically self-absorbed character of his figures, the most famous characteristic of Vermeer's work is its lifelikeness, the result of a complex and exquisite exercise in the transformation of reality.

Some aspects of this painting allow us to approximate the way in which the artist achieved these ends.

The use of a cloth for illusionistic ends has an important classical precedent which Vermeer undoubtedly knew of Pliny the Elder's anecdote in his in which he recounts that the Greek painter Zeuxis wished to prove his artistic superiority to his rival Parrhasius' and thus painted some grapes which were so realistic that some birds attempted to peck at them.



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