This pigment analysis is based on the work of Hermann Kühn of Doerner Institute in Munich (1) and on the later investigation by Melanie Gifford (2).

1 Yellow curtain, upper edge: H. Kühn (1) identifies the yellow paint in the curtain as Indian yellow. Later analysis by Melanie Gifford (2) shows that the sample investigated by H. Kühn in 1968 was taken from much later overpaint and was thus not painted by Vermeer. The bright yellow of the directly illuminated upper part of the curtain is painted in lead-tin-yellow.

2 Dull yellow paint in the lower part of the curtain, which is in the shadow: predominantly yellow ochre.

3 Grey-white wall, upper edge: lead white with small amounts of umber and charcoal black.

4 Blue paint from tablecloth: natural ultramarine with small amounts of lead white and charcoal black.

5 Two bright yellow trim of the frame on the painting on the wall, right side. The trim is directly illuminated by the light from the window: yellow ochre.

6 The much darker trim on the lower and left side shaded by the molding of the frame: yellow ochre mixed with charcoal black.

7 Bright yellow-orange dress of the woman at her waist: lead-tin-yellow overglazed by vermilion.

8 The dress of the woman not directly illuminated by the light from the window: ochres mixed with charcoal black.

References

(1) Kuhn, H. A Study of the Pigments and Grounds Used by Jan Vermeer. Reports and Studies in the History of Art, 1968, 154–202.

(2) Gifford, E.M., Painting Light: Recent Observations on Vermeer’s Technique, in Gaskell, I. and Jonker, M., ed., Vermeer Studies, in Studies in the History of Art, 55, National Gallery of Art, Washington 1998, pp. 185-199.

This painting is a mature example of Vermeer’s mastery of the medium. Every object is placed in perfect balance with the overall composition and is bathing in the rich and soft light coming from the window on the left side.

One example of this mastery is Vermeer’s handling of pigments in depicting the colour variations in a material caused by the varied intensity of the illumination (1).

The top of the yellow curtain is directly illuminated by the light from the window and is accordingly painted in bright lead-tin-yellow. The lower part of the same curtain in the shadow is of much duller colour achieved by the use of yellow ochre mixed with charcoal black in the darkest parts.

The golden trim of the picture frame on the right side shows a similar variation. The right part of the trim indirect light from the window is painted in bright yellow ochre while the left and the lower parts are of a greenish dull colour achieved by the addition of charcoal black.

The painting has been restored and investigated in 1994 by scientists at the National Gallery of Arts in Washington. In the course of this investigation and restoration, it was discovered that the two bright yellow lines of the trim on the right side of the frame had been overpainted by black paint at a later time by an unknown painter (2). The original golden trim was restored to its original state and it became obvious that it is a very important part of the whole composition in perfect harmony with the bright yellow curtain on the left and with the bright yellow-orange part of the woman’s dress in the middle (3).

The original golden trim has been restored to its original state and it became obvious that it is a very important part of the whole composition in perfect harmony with the bright yellow curtain on the left and with the bright yellow-orange part of the woman’s dress in the middle (3).

References

(1) Gifford, E.M., Painting Light: Recent Observations on Vermeer’s Technique, in Gaskell, I. and Jonker, M., ed., Vermeer Studies, in Studies in the History of Art, 55, National Gallery of Art, Washington 1998, pp. 185-199.

(2) Johannes Vermeer, Woman Holding a Balance, A moment captured, slideshow, National Gallery Washington, slide 10.

(3) Vermeer: Master of Light, the part discussing “Woman Holding a Balance”, National Gallery of Art, 2001. Narrated by Meryl Streep, with commentary by Arthur Wheelock, curator of northern baroque paintings, National Gallery of Art, and David Bull, conservator.

 Narrated by Meryl Streep, with commentary by Arthur Wheelock, curator of northern baroque paintings, National Gallery of Art, and David Bull, conservator (3:59 min)
The original unabridged video can be found here: Vermeer: Master of Light, total length 57:34 min.

(1) Marjorie E. Wieseman, Wayne Franits & H. Perry Chapman, Vermeer’s Women: Secrets and Silence, Yale University Press 2011..

(2) Gaskell, I. and Jonker, M., Vermeer Studies, in Studies in the History of Art, 55, National Gallery of Art, Washington 1998. 

(3) Michel Serres, Ambrosia and Gold, in Calligram: Essays in New Art History from France, Bryson, N. ed., Cambridge 1988, 116-130.

(4) Salomon, N. From Sexuality to Civility: Vermeer’s Women, in Gaskell, I. and Jonker, M. ed., Vermeer Studies, in Studies in the History of Art, 55, National Gallery of Art, Washington 1998, pp. 309-322.

(5) Arthur K. Wheelock Jr., Johannes Vermeer/Woman Holding a Balance, ca 1664,” Dutch Paintings of the Seventeenth Century, NGA Online Editions. Available as pdf.

Johannes Vermeer, Woman Holding a Balance, A moment captured, slideshow, National Gallery Washington

Janson, J., Johannes Vermeer, Woman Holding a Balance, Essential Vermeer, website

Essential Vermeer