The Art of Painting

Detail of Vermeer's Art of Painting showing the painter at his easel using a maulstick.

The painting has only two figures, the painter and his subject, a woman with downcast eyes. The painter was thought to be a self-portrait of the artist; Jean-Louis Vaudoyer suggested the young woman could be his daughter.[10] The painter sits in front of the painting on the easel, where you can see the sketch of the crown. He is dressed in an elegant black garment with cuts on the sleeves and on the back that offers a glimpse of the shirt underneath. He has short puffy breeches and orange stockings, an expensive and fashionable garment that is also found in other works of the time, as in a well-known self-portrait by Rubens.

The tapestry and the chair, both repoussoirs, lead the viewer into the painting. As in The Allegory of Faith the ceiling can be seen.

Experts attribute symbols to various aspects of the painting. A number of the items, a plaster mask, perhaps representing the debate on paragone,[11] the presence of a piece of cloth, a folio, and some leather on the table have been linked to the symbols of Liberal Arts. The representation of the marble tiled floor and the splendid golden chandelier are examples of Vermeer's craftsmanship and show his knowledge of perspective. Each object reflects or absorbs light differently, getting the most accurate rendering of material effects.

Leo Belgicus by Visscher (1611)[12]

The map, remarkable is the representation of light on it, shows the Seventeen Provinces of the Netherlands, flanked by 20 views of prominent Dutch cities.[13] It was published by Claes Janszoon Visscher in 1636. This map, but without the city views on the left and right can be seen on paintings by Jacob Ochtervelt and Nicolaes Maes. Similar maps were found in the Bibliothèque Nationale in Paris [14] and in the Swedish Skokloster.[15] In the top left of the map two women can be seen; one bearing a cross-staff and compasses, while the other has a palette, brush, and a city view in the hand.[16]

The Painter's Studio by Michiel van Musscher

Vermeer had a theoretical interest for painting. The subject is presumed to be Fama,[17] Pictura,[18] or Clio,[19] the Muse of History,[20] evidenced by her wearing a laurel wreath, holding a trumpet, possibly carrying a book by Herodotus or Thucydides, which matches the description in Cesare Ripa's 16th century book on emblems and personifications entitled Iconologia.[21][22] However, according to Ripa History should look back [23] and not down as in this painting. Following Vermeer's contemporary Gerard de Lairesse, interested in French Classicism and Ripa, there is another explanation; he mentions history and poetry as the main resources of a painter.[24][25] The woman in blue could be representing poetry,[26][27] pointing to Plutarch who observed that "Simonides calls painting silent poetry and poetry painting that speaks",[28] later paraphrased by the Latin poet Horace as ut pictura poesis. If so, the map is representing history.

Is that a double eagle on top of the chandelier?[29]

The double-headed eagle, symbol of the Habsburg Holy Roman Empire, which possibly adorns the central golden chandelier, may represent the former rulers of the Low Countries. The large map on the back wall has a prominent crease that divides the Seventeen Provinces into the north and south. (West is at the top of the map.) The crease may symbolize the division between the Dutch Republic to the north and southern provinces under Habsburg rule. The map shows the earlier political division between the Union of Utrecht to the north, and the loyal provinces to the south.[30] This interpretation might have appealed to Hitler who owned the painting during the war.[31] According to Liedtke a political interpretation of the map and the Habsburg eagle is unconvincing; they overlook other motives.[32] The map could suggest though that painting has brought fame to the Netherlands;[33] ships sailing over the folds suggest that.

A tunnel in the Altaussee salt mine

In 1935, Count Jaromir Czernin had tried to sell the painting to Andrew W. Mellon, but the Austrian government prohibited the export of the painting.[41] After the annexation of Austria, Philipp Reemtsma with the help of Reichsmarschall Hermann Göring attempted to acquire the painting. The transaction to a private person was refused being cultural heritage.[42] It was finally acquired by Adolf Hitler for the collection of the Linzer Museum at a price of 1.82 million Reichsmark through his agent, Hans Posse on 20 November 1940.[43] The painting was rescued from a salt mine near Altaussee at the end of World War II in 1945, where it was preserved from Allied bombing raids, with other works of art. The painting was escorted to Vienna from Munich by Andrew Ritchie, chief of the Monuments, Fine Arts, and Archives program (MFA&A) for Austria, who transported it by locking himself and the painting in a train compartment.[44]

The Americans presented the painting to the Austrian Government in 1946, since the Czernin family were deemed to have sold it voluntarily, without undue force from Hitler. During the early to mid-1950s, Czernin continued in his attempts to claim restitution, each time being rejected. In 1958, Vermeer's The Art of Painting was finally moved from temporary status into the permanent collection of the Kunsthistorisches Museum in Vienna.[45]

In August 2009, a request was submitted by the heirs of the Czernin family to Austria's culture ministry for the return of the painting. A previous request was submitted in 1960s; however, it was "rejected on the grounds that the sale had been voluntary and the price had been adequate." A 1998 restitution law, which pertains to public institutions, has bolstered the family's legal position.[46][47]