Foto de stock - A Maid Asleep. Artist: Johannes Vermeer (Dutch, Delft 1632-1675 Delft); Date: ca. 1656-57; Medium: Oil on canvas; Dimensions: 34 1/2 x 30 1/8 in. (87.6 x 76.5 cm); Classification: Paintings; Credit Line: Bequest of Benjamin Altman, 1913 / This picture is probably the earliest in which the Delft painter treats his favorite theme of a young woman, occasionally with a male companion, in a domestic interior. An overdressed maid has dozed off after entertaining a visitor (two glasses, a pitcher, and a jug may be seen in the jumbled still life). The painting above her depicts Cupid unmasked, an oblique explanation of her dreamy smile. Radiographs show that Vermeer originally painted a man in the background and a dog to the lower right. By replacing these motifs he made the amorous theme less obvious, quite as his remarkable passages of observation obscure his debts to contemporary painters like Nicolaes Maes.; Catalogue Entry: This picture is possibly Vermeer´s first effort in the field to which he devoted nearly all of his mature career: scenes of domestic life, usually focusing on a woman´s personal surroundings. It probably dates from 1656 or 1657, following Diana and Her Companions of about 1653-54 (Mauritshuis, The Hague), Christ in the House of Mary and Martha of about 1655 (National Gallery of Scotland, Edinburgh), and The Procuress, dated 1656 (Gemäldegalerie Alte Meister, Dresden). It is likely one of the earliest works by Vermeer to have been acquired by the contemporary Delft collector Pieter Claesz van Ruijven (1624-1674), who owned all or at least most of the twenty-one paintings by Vermeer sold in the estate sale of his son-in-law, Jacob Dissius, in 1696. It is known from technical examination (see Additional Images, fig. 1) that Vermeer made several changes to the picture. An x-radiograph reveals the figure of a man in the rear room, his head coincident with the mirror which, like the table below it, was added at a later stage. The man´s face appears to be seen in profile, and two different hats were tried on his head. The larger hat is seen from the front, indicating that at one stage the man was coming toward the viewer. A dog stood by the open door, looking at the male visitor. The still life on the table was also substantially revised (Liedtke 2007). Thus, the implication is not that a visitor is expected, but that one-to judge from the open door and the disorderly array of objects on the table-has recently left the room. The corner of a painting on the wall above the maid shows the leg of a Cupid and a theatrical mask. Similar paintings appear in other works by Vermeer, and may be based on a painting of Cupid (or Amor) listed in the 1676 inventory of the artist´s estate. The mask may have been included in the MMA painting to suggest that love is here unmasked. [2010; adapted from Liedtke 2007]; Inscription: Signed (left, above girl´s head): I·VMeer· [VM in monogram]; Provenance: ?Pieter Claesz. van Ruijven, Delft (until d. 1674); ?his widow, Maria de Knuijt, Delft (1674-d. 1681); ?their daughter, Magdalena van Ruijven, Delft (1681-d. 1682); ?her widower, Jacob Abrahamsz. Dissius (1682-d. 1695; his estate sale, Amsterdam, May 16, 1696, no. 8, for fl. 62); John Waterloo Wilson, Paris (after 1873-1881; his sale, Paris, March 14-16, 1881, no. 116, to Sedelmeyer); [Sedelmeyer, Paris, 1881; sold to Kann]; Rodolphe Kann, Paris (1881-d. 1905; his estate, 1905-7; cat., 1907, vol. 1, no. 89; sold to Duveen); [Duveen, London, 1907-8; sold to Altman]; Benjamin Altman, New York (1908-d. 1913)

Imagen: A Maid Asleep. Artist: Johannes Vermeer (Dutch, Delft 1632-1675 Delft); Date: ca. 1656-57; Medium: Oil on canvas; Dimensions: 34 1/2 x 30 1/8 in. (87.

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